Serbian Academy of Sciences and Arts
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The railway and clandestine migration along the Balkan migratory trail
No full textIn this paper, we ask how railways, a massive mobility (infra)structure shaped by the ideology of coordination and certainty, work in the context of prolonged and repeated situations of uncertainty related to clandestine migration. Our main question is how railways are utilized for both containing and enabling mobilities towards the EU. In doing so, we are taking up a viapolitical reading of trains and locomotion. We understand rail infrastructure not only as a tangible object but also as a relational system that organizes movement, interaction and terrain. Based on long-term ethnographic research along the Balkan migratory trail, we discuss how railways are used for facilitating clandestine movement (as leads, resting infrastructures, spaces of solidarity etc.), and how they are used by state authorities to hinder and revert this movement (as detention, backward-paths, spaces of policing and border violence etc.). We investigate how these heterotopic usages of active and abandoned railways inform and reshape everyday geographies of movement along the route, intercity mobility, life on the EU administrative border, and how they change railway routes themselves. We expose how (un)certainty operates on the move, contributing to a non-linear understanding of migration
Историја истраживања ромске (циганске) музике и музичара у Бугарској
No full textIn this article, we examine the historiography of research on Romani (Gypsy) music and musicians in Bulgaria, presenting the studies and researchers who have focused on this field. We aim to provide a chronological and thematic overview of the available publications, together with an analysis of the key characteristics of each historical period in which they were produced – the period of the modern Bulgarian state (1878–1944), the socialist era (1944–1989), and the time following the fall of the socialist regime (from 1989 onwards). Research methodology is primarily based on historical analysis of ethnographic descriptions and interpretations, including a clarification of the dichotomy between emic and etic approaches to knowledge production about Romani musical practices in Bulgaria. Studies on Gypsy/Romani music and musicians have become more extensive after the political changes of 1989, contributing to a significant
broadening of the scope of Bulgarian ethnomusicology
Никос Скалкотас и Димитрис Драгатакис: интеракције њихових животних и стваралачких путева
No full textNikos Skalkottas (1904–1949) and Dimitris Dragatakis (1914–2001) were two of the most important Greek composers of the twentieth century. From 1944 to 1947, they both played in the orchestra of the Greek National Opera, Dragatakis being a politically engaged apprentice composer and
Skalkottas a marginalized violin virtuoso and avant-garde pioneer. While no direct connection between them is documented, new sources suggest some interaction of their lives and creative paths. Analysis of two pieces for violin and piano – the second movement of Skalkottas’ Sonatina no. 1 (1929), and Lullaby [Berceuse/Nanourisma] [1942–1949] by Dragatakis – indicates Dragatakis’ early adoption of the twelve-tone techniques from Skalkottas’ work, hinting at the initial influence of Skalkottas’ modern procedures in Greece
New words in slavic languages on social media – perfume glossary
No full textУ раду се анализира лексика прикупљена у неколико група на друштвеној мрежи Фејсбук, а која се најшире може довести у везу са парфемима – лексика парфимерства. Већина прикупљених лексема карактеристична је само за анализирани дискурс и неће се употребити у свакодневном језику. Граёу углавном чине по-зајмљенице, махом полуадаптиране, или се јављају нова значења већ постојећих речи у српском језику.This paper examines perfume-related terms collected from several Facebook groups dedicated to fragrance appreciation. Most of these terms are loanwords, and their usage is limited to the analyzed discourse, meaning they are unlikely to be used in everyday speech. Many of these terms are not fully adapted. For words that already exist in the language, we observe new meanings in our corpus
Serbian Newly-Composed Folk Music of the 1960s-1980s in Post-Yugoslav Diaspora as a Dissonant Heritage
No full textNewly composed folk music (NCFM, Serbian: novokomponovana narodna muzika), as a genre of popular folk music in Serbia and Yugoslavia since its beginnings in the late 1960s, is distinguished by its contrast with rural traditional folk music. Although it was regarded by the cultural elite as “corrupted” folk music and, in some cases, as kitsch, it was unequivocally accepted as a more progressive form of folk music among its target group - newly arrived migrants from the countryside who, during that period, moved to larger cities as well as abroad. Emigration continued in the 1990s, when emigrant population left the disintegrating Yugoslavia, but the NCFM continued to exist among the emigrants, including those of non-Serbian origin. To this day, it has survived in various post-Yugoslav emigrant communities, parallel to choreographed folklore (i.e. arrangements of traditional folk music for dance accompaniment) and contemporary forms of popular folk music (such as popfolk and trepfolk).
In this article, two levels of the nostalgic existence of the NCFM are examined - associations with the homeland and with the past. In particular, the article examines whether the NCFM has become a cultural heritage of the diaspora, and whether the popular music (unintentionally?) become a Serbian/Yugoslav cross-border “soft power”? On the cases from field researches conducted in Türkiye and Hungary, we will approach the NCFM by applying the concept of dissonant heritage, questioning the apostasy of this popular genre from official cultural identity politics and considering it as a living practice that serves as an identification tool in dynamic diaspora communities.Theme: Music and Dance in the Balkans: Intersections of Tradition, Identity, and Innovatio
The Vividness of Comparative Constructions in THE DAMNED YARD by Ivo Andrić
No full textПредмет рада су поредбене конструкције у ПРОКЛЕТОЈ АВЛИЈИ (1954) Иве Андри-
ћа као језичко-стилско средство богатије и упечатљивије карактеризације ликова,
простора и ситуација у овом роману, са посебним освртом на компаратумски део
поредбене структуре у реченицама који има функционалностилску улогу постиза-
ња изразитијег и упечатљивијег ефекта и сликовитости текста. Циљ је да укажемо
на стилску иновативност поређења и њихов значај за обликовање текста код Иве
Андрића.The subject of the paper is the comparative constructions in THE DAMNED YARD by
Ivo Andrić, analyzed as linguistic-stylistic devices used to enrich and enhance the
characterization of characters, spaces, and situations in the novel. Special attention is
given to the comparator part of the comparative structure within sentences, aiming to
achieve a more pronounced stylistic effect and vividness. The goal is to highlight the
stylistic innovation of comparisons and their significance in shaping the text in Ivo
Andrić’s work
Концепт СРПСКИ ЈЕЗИК – резултати анкетног истраживања
No full textУ раду су анализирани резултати анкетног истраживања о концепту српски језик и представљена језичка слика овог концепта у свакодневној употреби српских говорника
Research, Documentation and Protection of the Architecture and Wall Paintings of the Gradac Monastery until 1951: the Context and the Results
No full textThis chapter reconstructs the research history of the Church of the Mother of God at the Gradac Monastery from the earliest notes and field recordings of the 1870s to the publication of the first scholarly monograph on Gradac in 1951. It traces the path by which Queen Jelena’s foundation gradually entered the focus of both Serbian and international scholarship, beginning with the pioneering surveys and drawings by Mihailo Valtrović and Dragutin Milutinović (1875). Their documentation, which also produced what may be considered the first theoretical reconstruction of a medieval sacral building in Serbian historiography, is examined as a formative moment in the making of Gradac as an object of study.
The analysis is grounded in a critical reading of heterogeneous source materials - archival photographs, architectural drawings, diaries, and reports - collected and correlated across repositories in Belgrade and Paris. By treating visual and written evidence as complementary, the chapter assembles a coherent documentary “dossier” of the church’s condition before the major reconstruction campaigns, providing a key to interpreting architectural and artistic features that were later altered or lost in situ.
A central contribution of the chapter lies in its methodology: the equal consideration of primary documentation and secondary scholarship, combined with a systematic reassessment of earlier interpretations. The discussion revisits major scholarly milestones and interpretative frameworks, from brief references in broader syntheses (Petar Pokryškin, 1906; Gabriel Millet, 1908, 1917, 1919) and the article by Kosta J. Jovanović (1918), to the foundational monograph by Đurđe Bošković and Slobodan Nenadović (1951). Placed in sequence, these sources reveal not only changing readings of the monument’s chronology and form, but also the institutional and professional conditions under which documentation and conservation knowledge were produced.
By presenting the evidence in a structured and source-critical way, the chapter offers an integrated picture of Gradac’s building phases, damages, and successive reconstructions. At the same time, it frames this trajectory as a case study in the development of conservation practice in Serbia, highlighting the decisive role of documentation as both a historical record and a tool for responsible interpretation