This paper aims to present a novel approach to map analysis, treating all ‘map-like’ drawings as icono-texts, according to premises postulated in modern cartographical theory by Brian Harley and his successors in this field. It is not just ‘deconstructing’ which takes place, but further interpretations are stimulated by probing questions not only of authorship (often unknown), but also of the social, cultural, and religious environment. Making an allegorical map and text was a difficult task, an intellectual endeavor, which demanded that the author carefully choose the symbols that would outlive the material. In this paper, the Fool’s Cap Map of the World is presented as an example of icono-textual analysis, by bringing together the most popular literary works and their illustrations – Erasmus Desiderius, Sebastian Brandt, and Hieronymus Bosch. The double masks of the author – the pseudonym “Epichtonius Cosmopolites”, with its denunciation of nationality, and the jester’s costume, were chosen as the means of conveying unpleasant truths about the state of the world, France, and/or the Netherlands. Human hybris, Suberbia and Vanitas were the primal sins, by which they were all blinded, waging wars for pieces of land and worldly goods. Therefore, the fool’s malade is melancholy, strictly reserved for male intellectuals – Ficino, Dürer, Shakespeare, Bright and Burton. On the other hand, it would seem as if the female primal sin were vanity, which brings the puritan Bunyan and Anglican Thackeray into this polyphonic interpretation. Their works did, however, show that’'vanitas’ is present among both genders and is an everlasting human trait, now heavily exploited as a ’cash crop’ par excellence. Since all knowlegde is situated, I feel the need to say that I am finishing this paper in self-quarantine due to the ’new plague’ pandemic, wondering if the people in this mad and greedy world would contemplate how all is nothing, and whether the survivors would be better, i.e. more human, acting with more empathy, regardless of the perpetually announced Apocalypse. This remains to be witnessed.
{"title":"Pictures and Words: Allegorical and Persuasive Cartography","authors":"Jelena Mrgić","doi":"10.21301/eap.v15i2.1","DOIUrl":"https://doi.org/10.21301/eap.v15i2.1","url":null,"abstract":"This paper aims to present a novel approach to map analysis, treating all ‘map-like’ drawings as icono-texts, according to premises postulated in modern cartographical theory by Brian Harley and his successors in this field. It is not just ‘deconstructing’ which takes place, but further interpretations are stimulated by probing questions not only of authorship (often unknown), but also of the social, cultural, and religious environment. Making an allegorical map and text was a difficult task, an intellectual endeavor, which demanded that the author carefully choose the symbols that would outlive the material. In this paper, the Fool’s Cap Map of the World is presented as an example of icono-textual analysis, by bringing together the most popular literary works and their illustrations – Erasmus Desiderius, Sebastian Brandt, and Hieronymus Bosch. The double masks of the author – the pseudonym “Epichtonius Cosmopolites”, with its denunciation of nationality, and the jester’s costume, were chosen as the means of conveying unpleasant truths about the state of the world, France, and/or the Netherlands. Human hybris, Suberbia and Vanitas were the primal sins, by which they were all blinded, waging wars for pieces of land and worldly goods. Therefore, the fool’s malade is melancholy, strictly reserved for male intellectuals – Ficino, Dürer, Shakespeare, Bright and Burton. On the other hand, it would seem as if the female primal sin were vanity, which brings the puritan Bunyan and Anglican Thackeray into this polyphonic interpretation. Their works did, however, show that’'vanitas’ is present among both genders and is an everlasting human trait, now heavily exploited as a ’cash crop’ par excellence. Since all knowlegde is situated, I feel the need to say that I am finishing this paper in self-quarantine due to the ’new plague’ pandemic, wondering if the people in this mad and greedy world would contemplate how all is nothing, and whether the survivors would be better, i.e. more human, acting with more empathy, regardless of the perpetually announced Apocalypse. This remains to be witnessed.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73687219","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the cultural memory of peoples or individual groups, there is always a certain temporal point around which complex socio-political discourses develop. In Serbia, it was the 1990s. Many studies analyzed this period from different and opposite perspectives, but research on TV programs from that era has been rather neglected. This paper focuses on TV series and audience attitudes in order to determine their role in this period. The methodology is based on secondary data from previously conducted research since it is difficult to determine the audience's attitudes towards a serial program that was broadcasted in the 1990s from this temporal distance. The reports from the RTS (Radio Television of Serbia) Research Center were used, and a brief analysis of individual achievements from that period was made to define a more general picture of the television series offered. The methods used were: historical analysis, content analysis and comparative analysis, therefore, the qualitative approach dominates. Ideology has long been identified as an increasingly common component of popular content, so particular attention was paid in this paper to detailed analysis and „reading between the lines.“ Although at first glance it was expected that clear ideological representational matrices would be recognized in TV series broadcasted in the 1990s, our research shows that this is not the case. Detailed analysis provided answers to the newly discovered meanings of a complex and never-completed process of cultural formation within the peculiarities of everyday life in a territory that was largely isolated and at a time pressed by various phenomenological and axiological categories. That everyday life was human, lively and inevitable, and its representation in the series does not cover the semantic paradigm of the most difficult of all times in contemporary Serbian history. In a deeper reading of the attitudes and thinking of the audience, it is noticed that the perception of the socio-political crisis of the time was projected on the wishes of the audience, as it pleaded for more fun, optimism and humanity, which became part of the basic viewing preferences. More than that, viewers have expressed a need for much more love content in future recorded series, which shows a certain measure of saturation, on the one hand, and a culmination of optimism and relaxation regarding the expectations of the serial content, on the other. The audience's desires were turned toward distraction from reality, wars, sanctions and dark topics.
{"title":"The 1990s on the RTS Screens: Analysis of the Domestic Television Series and the Audience Attitudes","authors":"Nataša Simeunović-Bajić, M. Vujović, D. Pavlovic","doi":"10.21301/eap.v15i2.5","DOIUrl":"https://doi.org/10.21301/eap.v15i2.5","url":null,"abstract":"In the cultural memory of peoples or individual groups, there is always a certain temporal point around which complex socio-political discourses develop. In Serbia, it was the 1990s. Many studies analyzed this period from different and opposite perspectives, but research on TV programs from that era has been rather neglected. This paper focuses on TV series and audience attitudes in order to determine their role in this period. The methodology is based on secondary data from previously conducted research since it is difficult to determine the audience's attitudes towards a serial program that was broadcasted in the 1990s from this temporal distance. The reports from the RTS (Radio Television of Serbia) Research Center were used, and a brief analysis of individual achievements from that period was made to define a more general picture of the television series offered. The methods used were: historical analysis, content analysis and comparative analysis, therefore, the qualitative approach dominates. \u0000Ideology has long been identified as an increasingly common component of popular content, so particular attention was paid in this paper to detailed analysis and „reading between the lines.“ Although at first glance it was expected that clear ideological representational matrices would be recognized in TV series broadcasted in the 1990s, our research shows that this is not the case. Detailed analysis provided answers to the newly discovered meanings of a complex and never-completed process of cultural formation within the peculiarities of everyday life in a territory that was largely isolated and at a time pressed by various phenomenological and axiological categories. That everyday life was human, lively and inevitable, and its representation in the series does not cover the semantic paradigm of the most difficult of all times in contemporary Serbian history. In a deeper reading of the attitudes and thinking of the audience, it is noticed that the perception of the socio-political crisis of the time was projected on the wishes of the audience, as it pleaded for more fun, optimism and humanity, which became part of the basic viewing preferences. More than that, viewers have expressed a need for much more love content in future recorded series, which shows a certain measure of saturation, on the one hand, and a culmination of optimism and relaxation regarding the expectations of the serial content, on the other. The audience's desires were turned toward distraction from reality, wars, sanctions and dark topics.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90569399","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper seeks to situate the question of education in the field of the performing arts within the broader context of the epistemology of art. It looks not only at educational practices and institutions in Serbia today, but also at the dominant theories in this field in a local context. The aim is to present not only the fundamental tendencies and contradictions regarding education in the performing arts, but also the dominant and representative theoretical self-awareness of different actors on the scene. Educational practices in the fields of drama, theatre and other performing arts in Serbia today range from elite academic institutions offering undergraduate, master and doctoral degree studies, to more recent private initiatives, academies and institutes, to unstable collaborative self-education practices on the independent scene. One of the basic starting points of the study is that systems of education, production and presentation in a certain art field are interrelated, and that changes in one of the segments affect other elements in the chain.
{"title":"Education in the Performing Arts in Serbia Between Academic and Self-Education Practices","authors":"M. Ivić","doi":"10.21301/eap.v15i2.11","DOIUrl":"https://doi.org/10.21301/eap.v15i2.11","url":null,"abstract":"This paper seeks to situate the question of education in the field of the performing arts within the broader context of the epistemology of art. It looks not only at educational practices and institutions in Serbia today, but also at the dominant theories in this field in a local context. The aim is to present not only the fundamental tendencies and contradictions regarding education in the performing arts, but also the dominant and representative theoretical self-awareness of different actors on the scene. Educational practices in the fields of drama, theatre and other performing arts in Serbia today range from elite academic institutions offering undergraduate, master and doctoral degree studies, to more recent private initiatives, academies and institutes, to unstable collaborative self-education practices on the independent scene. One of the basic starting points of the study is that systems of education, production and presentation in a certain art field are interrelated, and that changes in one of the segments affect other elements in the chain.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77311094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper deals with two film adaptations of the myth of Orpheus that were made in Brazil in 1959 and 1999. In view of the fact that in both films Orpheus appears as Afro-Brazilian, these two versions of the myth may be related to Sartre’s concept of Black Orpheus, and the movement of Negritude that appeared in Paris in the 1930s as an answer of the black francophone intellectuals to racial myths and colonial stereotypes. Regarding the fact that the European attitude towards ancient Greece is also characteristic of another kind of colonialism that is cultural, based on the claim of exclusive right to this past, the ancient myth that often appears only as a mirror of this relationship, functions in these films as a space for subversion and resistance to different types of colonial power. The films that are the focus of this paper are Black Orpheus (1959) directed by Marcel Camus, which is a French-Italian-Brazilian co-production, and Orpheus (1999) by Carlos Diegues, an entirely Brazilian production. Both films were inspired by the theatrical play written by Vinícius de Moraes, Orfeu da Conceição (1953). Although he himself participated in the production of Camus’s Black Orpheus, in the end he refused to be credited because in the film, the main idea of his drama was lost, which was to show Afro-Brazilians as the main protagonists of the Greek myth pointing out injustices and difficulties of Afro-Brazilian people in social reality, but also in the context of cultural and racial hegemony that clearly claimed the ancient Greek myth to be the heritage of European white men. Similarly, disappointed, Carlos Diegues decided to make another film together with Vinícius de Moraes. However, the plan was interrupted by Moraes death in 1980, but Diegues succeeded in filming it in 1999. The paper compares the two films focusing on the question to which extent these films challenge or confirm European cultural elitism, racial stereotypes and class inequalities.
本文涉及1959年和1999年在巴西制作的两部改编自俄耳甫斯神话的电影。鉴于在两部电影中，俄耳甫斯都以非裔巴西人的身份出现，这两个版本的神话可能与萨特的黑人俄耳甫斯概念以及20世纪30年代出现在巴黎的黑人运动有关，这是法语黑人知识分子对种族神话和殖民刻板印象的回答。鉴于欧洲人对古希腊的态度也具有另一种殖民主义的特征，即文化殖民主义，基于对这段历史的专属权利的主张，古代神话往往只是作为这种关系的一面镜子出现，在这些电影中充当了对不同类型殖民权力的颠覆和抵抗的空间。本文关注的电影是马塞尔·加缪导演的《黑色奥菲斯》(1959)，这是一部法国、意大利和巴西的合拍片，以及卡洛斯·迪格斯导演的《奥菲斯》(1999)，这是一部完全由巴西制作的电影。两部电影的灵感都来自于Vinícius de Moraes写的戏剧剧本，Orfeu da concepp o(1953)。尽管他参加了加缪的黑俄耳甫斯的生产,最终他拒绝相信,因为在影片中,他失去了戏剧的主要思想,这是展示最盛的主要主角希腊神话指出不公平和非裔巴西人在社会现实的困难,而且在文化和种族霸权的背景下,显然声称古希腊神话是欧洲白人的遗产。同样失望的是，卡洛斯·迪格斯决定和Vinícius·德·莫拉斯一起拍另一部电影。然而，该计划因1980年莫拉斯的去世而中断，但迪格斯在1999年成功拍摄了这部电影。本文对这两部电影进行了比较，重点讨论了这些电影在多大程度上挑战或证实了欧洲的文化精英主义、种族刻板印象和阶级不平等。
{"title":"Ancient Myth in Brazilian Cinematography: Black Orpheus","authors":"Lada Stevanović","doi":"10.21301/eap.v15i2.2","DOIUrl":"https://doi.org/10.21301/eap.v15i2.2","url":null,"abstract":"The paper deals with two film adaptations of the myth of Orpheus that were made in Brazil in 1959 and 1999. In view of the fact that in both films Orpheus appears as Afro-Brazilian, these two versions of the myth may be related to Sartre’s concept of Black Orpheus, and the movement of Negritude that appeared in Paris in the 1930s as an answer of the black francophone intellectuals to racial myths and colonial stereotypes. Regarding the fact that the European attitude towards ancient Greece is also characteristic of another kind of colonialism that is cultural, based on the claim of exclusive right to this past, the ancient myth that often appears only as a mirror of this relationship, functions in these films as a space for subversion and resistance to different types of colonial power. The films that are the focus of this paper are Black Orpheus (1959) directed by Marcel Camus, which is a French-Italian-Brazilian co-production, and Orpheus (1999) by Carlos Diegues, an entirely Brazilian production. Both films were inspired by the theatrical play written by Vinícius de Moraes, Orfeu da Conceição (1953). Although he himself participated in the production of Camus’s Black Orpheus, in the end he refused to be credited because in the film, the main idea of his drama was lost, which was to show Afro-Brazilians as the main protagonists of the Greek myth pointing out injustices and difficulties of Afro-Brazilian people in social reality, but also in the context of cultural and racial hegemony that clearly claimed the ancient Greek myth to be the heritage of European white men. Similarly, disappointed, Carlos Diegues decided to make another film together with Vinícius de Moraes. However, the plan was interrupted by Moraes death in 1980, but Diegues succeeded in filming it in 1999. The paper compares the two films focusing on the question to which extent these films challenge or confirm European cultural elitism, racial stereotypes and class inequalities.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78109653","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In this paper, we examine the characteristics of organizational culture in Ernst Young Serbia. Employee perceptions of organizational culture were compared with the proclaimed company values. Interviews were conducted with 16 employees using the standardized questionnaire while the survey provided demographic and socio-economic profile of informants. Other research methods such as observation and participant observation were also used in the study. Based on the premise that organizational culture refers to a system of shared meaning held by members that distinguishes the organization from other organizations, we noticed a variety of employee perceptions including the collection of interpersonal relations, values, beliefs, attitudes, practices, rituals, rules and procedures. Ernst Young company defines its organizational culture in relation to the three core elements: inclusiveness, development and engagement. Proclaimed values of the company represent the desired employee behavior dimensions derived from above mentioned elements. These are: a) Integrity, respect, and teaming; b) Energy, enthusiasm, and the courage to lead; c) Building of relationships based on doing the right thing. Research has shown that the value system of the company has been successfully implemented in Serbia.
{"title":"Organizational Culture in Ernst Young Serbia: From Proclaimed to Perceived Values","authors":"Bogdan Dražeta, L. Dražeta","doi":"10.21301/eap.v15i2.7","DOIUrl":"https://doi.org/10.21301/eap.v15i2.7","url":null,"abstract":"In this paper, we examine the characteristics of organizational culture in Ernst Young Serbia. Employee perceptions of organizational culture were compared with the proclaimed company values. Interviews were conducted with 16 employees using the standardized questionnaire while the survey provided demographic and socio-economic profile of informants. Other research methods such as observation and participant observation were also used in the study. Based on the premise that organizational culture refers to a system of shared meaning held by members that distinguishes the organization from other organizations, we noticed a variety of employee perceptions including the collection of interpersonal relations, values, beliefs, attitudes, practices, rituals, rules and procedures. Ernst Young company defines its organizational culture in relation to the three core elements: inclusiveness, development and engagement. Proclaimed values of the company represent the desired employee behavior dimensions derived from above mentioned elements. These are: a) Integrity, respect, and teaming; b) Energy, enthusiasm, and the courage to lead; c) Building of relationships based on doing the right thing. Research has shown that the value system of the company has been successfully implemented in Serbia.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78200453","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper offers an anthropological analysis of Bekim Sejranović’s last novel, The Diary of a Nomad, approaching it as the ethnography of the novelist’s own migrant experience. The goal of the paper is, on the one hand, to answer the question how, in the process of constant movement between cultural boundaries, the identity of the author himself is being constructed and reconstructed, and how it is being shaped through the very process of writing. On the other hand, the paper looks at how the author imagines Norway, and thus potentially participates in the way in which a region is imagined in the context in which the reception of the novel takes place. Finally, it sheds light on the reasons why the author feels like a stranger in his “new/Scandinavian homeland”, even though he has spent more than twenty years there and has Norwegian citizenship, how he perceives himself as being externally categorized as a stranger, why he self-identifies relationally as a non-Norwegian, and also why he strategically self-identifies as a Norwegian when this particular self-identification is to serve as a basis for building legitimacy for his criticism of Norwegian society.
{"title":"“We All Carry Inside Us Many Identities, a Multitude of These Selves of Ours”: Anthropological Analysis of Bekim Sejranović’s Novel the Diary of a Nomad","authors":"Nina Kulenović","doi":"10.21301/eap.v15i1.9","DOIUrl":"https://doi.org/10.21301/eap.v15i1.9","url":null,"abstract":"This paper offers an anthropological analysis of Bekim Sejranović’s last novel, The Diary of a Nomad, approaching it as the ethnography of the novelist’s own migrant experience. The goal of the paper is, on the one hand, to answer the question how, in the process of constant movement between cultural boundaries, the identity of the author himself is being constructed and reconstructed, and how it is being shaped through the very process of writing. On the other hand, the paper looks at how the author imagines Norway, and thus potentially participates in the way in which a region is imagined in the context in which the reception of the novel takes place. Finally, it sheds light on the reasons why the author feels like a stranger in his “new/Scandinavian homeland”, even though he has spent more than twenty years there and has Norwegian citizenship, how he perceives himself as being externally categorized as a stranger, why he self-identifies relationally as a non-Norwegian, and also why he strategically self-identifies as a Norwegian when this particular self-identification is to serve as a basis for building legitimacy for his criticism of Norwegian society.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73267619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper offers a reading of the novel London, Pomaz by Petar Milošević (b. 1952 in Kalaz, Hungary) in the key of individual and collective identity positionings, from the aspect of sociocultural anthropology. The novel, published in 1993, is framed as a love story spanning the East and West, until recently divided by the Cold War, and the protagonists are Serbs from the area around Budapest, a community to which both the author and his main character Ičvič belong. The character's surname, which is actually non-existent, has been formed from the suffixes -ić and -vić characteristic of patronymic Serbian surnames, in the Hungarianized version of -ič and -vič. Through a series of sequences, the novel describes the protagonist's life cycle from Pomaz, a small town between Budapest and Szentendre, where Ičvič was born, and Budapest, to Slovakia, the former Yugoslavia, Venice and London, and finally back to Pomaz, from the 1950s to the 1990s. Ičvič encounters different people and situations, others' stereotypes and prejudices as well as his own, unfulfilled expectations and the illusion of freedom in a world that has supposedly risen above ideological divisions, while next door, his (former) country is riven by ethnic war, the small community to which he belongs by birth is gradually disappearing, and in the supposed democratization processes following the fall of the Berlin wall, power and control merely take new forms. The situations in which the protagonist finds himself provide the possibility of reading/reading into them the relationship we:others or I:others, in other words, of different identity formations and positionings, not only of Ičvič himself but also of other characters and the collectivities to which they actually or supposedly belong. The assumption is that, despite the significant differences between a literary text and ethnography, a literary work can be used, with due methodological caution, as a source in anthropological research.
{"title":"Ičvič's Travels: Representations of Identity in Petar Milošević's Novel London, Pomaz","authors":"M. Prelic","doi":"10.21301/eap.v15i1.7","DOIUrl":"https://doi.org/10.21301/eap.v15i1.7","url":null,"abstract":"The paper offers a reading of the novel London, Pomaz by Petar Milošević (b. 1952 in Kalaz, Hungary) in the key of individual and collective identity positionings, from the aspect of sociocultural anthropology. The novel, published in 1993, is framed as a love story spanning the East and West, until recently divided by the Cold War, and the protagonists are Serbs from the area around Budapest, a community to which both the author and his main character Ičvič belong. The character's surname, which is actually non-existent, has been formed from the suffixes -ić and -vić characteristic of patronymic Serbian surnames, in the Hungarianized version of -ič and -vič. Through a series of sequences, the novel describes the protagonist's life cycle from Pomaz, a small town between Budapest and Szentendre, where Ičvič was born, and Budapest, to Slovakia, the former Yugoslavia, Venice and London, and finally back to Pomaz, from the 1950s to the 1990s. Ičvič encounters different people and situations, others' stereotypes and prejudices as well as his own, unfulfilled expectations and the illusion of freedom in a world that has supposedly risen above ideological divisions, while next door, his (former) country is riven by ethnic war, the small community to which he belongs by birth is gradually disappearing, and in the supposed democratization processes following the fall of the Berlin wall, power and control merely take new forms. The situations in which the protagonist finds himself provide the possibility of reading/reading into them the relationship we:others or I:others, in other words, of different identity formations and positionings, not only of Ičvič himself but also of other characters and the collectivities to which they actually or supposedly belong. The assumption is that, despite the significant differences between a literary text and ethnography, a literary work can be used, with due methodological caution, as a source in anthropological research.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78093915","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Reminiscences of the past and melancholic feelings have often been present in the literature of the diaspora, which illustrates the fact that the life of an immigrant has never been easy since s/he has to deal with many unfavourable circumstances. Immigrant identity cannot remain exactly the same after arrival in a new cultural milieu. Elements of the original identity may be lost or transformed into new forms. Old selves cannot be completely assimilated into the new cultural pattern. Apart from this, there are other obstacles, which are presented in a symbolic way in Goran Simić’s collection of short stories Yesterday’s People. This Canadian author of Serbian origin has compiled a dossier of Yugoslavian immigrants in Canada who left the country in the last decade of the twentieth century due to the horrors of the war in Bosnia. Since they emigrated in a tumultuous social climate when the foundations of the old cultural identity had been destabilized and called into question, they cannot deal in a productive way with a new phase of their life in the diaspora and find their purpose at the moment . Similarly, to his protagonists, Goran Simić was affected by the Bosnian conflict, but he has succeeded in reshaping himself in his new surroundings, reworking his memories in a creative way and integrating into Canadian literature as a writer. However, scarred and traumatized yesterday’s people in his stories cannot grapple successfully with the existential problems and their identity crises, and they are constantly wedged between the haunting past and the elusively better future. The aim of this paper is to discuss the possible problems at the “meeting point” between the discourses and practices which shaped immigrants’ identity in their native land and the processes which construct them as subjects in the present, by relying on Stuart Hall’s theoretical views in “Who needs an Identity”.
{"title":"Elusive Better Future: Identity Crisis Among Immigrants in Yesterday’s People","authors":"M. Ćuk","doi":"10.21301/eap.v15i1.6","DOIUrl":"https://doi.org/10.21301/eap.v15i1.6","url":null,"abstract":"Reminiscences of the past and melancholic feelings have often been present in the literature of the diaspora, which illustrates the fact that the life of an immigrant has never been easy since s/he has to deal with many unfavourable circumstances. Immigrant identity cannot remain exactly the same after arrival in a new cultural milieu. Elements of the original identity may be lost or transformed into new forms. Old selves cannot be completely assimilated into the new cultural pattern. Apart from this, there are other obstacles, which are presented in a symbolic way in Goran Simić’s collection of short stories Yesterday’s People. This Canadian author of Serbian origin has compiled a dossier of Yugoslavian immigrants in Canada who left the country in the last decade of the twentieth century due to the horrors of the war in Bosnia. Since they emigrated in a tumultuous social climate when the foundations of the old cultural identity had been destabilized and called into question, they cannot deal in a productive way with a new phase of their life in the diaspora and find their purpose at the moment . Similarly, to his protagonists, Goran Simić was affected by the Bosnian conflict, but he has succeeded in reshaping himself in his new surroundings, reworking his memories in a creative way and integrating into Canadian literature as a writer. However, scarred and traumatized yesterday’s people in his stories cannot grapple successfully with the existential problems and their identity crises, and they are constantly wedged between the haunting past and the elusively better future. The aim of this paper is to discuss the possible problems at the “meeting point” between the discourses and practices which shaped immigrants’ identity in their native land and the processes which construct them as subjects in the present, by relying on Stuart Hall’s theoretical views in “Who needs an Identity”.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89545167","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This paper focuses on the development of the cult of the late 17th century icon of the Virgin with the Child, known as Joyful Lady of Bač, from its origins to the present day. Painted in the manner of late Byzantine art, and preserved in the Franciscan monastery of the Assumption of the Blessed Virgin in Bač, this Italo-Cretan icon was and still is highly venerated by local Slavic population of both Catholic and Orthodox denominations. At one point this icon also started to be venerated as the icon of Our Lady of Gradovrh, miraculous icon from the Franciscan monastery in Gradovrh near Tuzla in Bosnia. Through this case study, the paper aims at highlighting the fact that in the areas, where during many centuries population of both Catholic and Orthodox denominations lived together, the ways of veneration of holy images differed little among them in both form and essence.
{"title":"The Image and the Cult: The Icon of Joyful Lady of Bač","authors":"Nikola Piperski","doi":"10.21301/eap.v15i1.12","DOIUrl":"https://doi.org/10.21301/eap.v15i1.12","url":null,"abstract":"This paper focuses on the development of the cult of the late 17th century icon of the Virgin with the Child, known as Joyful Lady of Bač, from its origins to the present day. Painted in the manner of late Byzantine art, and preserved in the Franciscan monastery of the Assumption of the Blessed Virgin in Bač, this Italo-Cretan icon was and still is highly venerated by local Slavic population of both Catholic and Orthodox denominations. At one point this icon also started to be venerated as the icon of Our Lady of Gradovrh, miraculous icon from the Franciscan monastery in Gradovrh near Tuzla in Bosnia. Through this case study, the paper aims at highlighting the fact that in the areas, where during many centuries population of both Catholic and Orthodox denominations lived together, the ways of veneration of holy images differed little among them in both form and essence.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75900800","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper analyzes through different historical periods in Indonesia the political instrumentalization of three prophetic narratives based on the prophecies of the medieval Javanese king Jayabaya, and looks at the ways in which millenniarist organizations and political activists have used the myths of the Savior and the Golden Age to achieve their own goals. The form of prophetic narratives has proved extremely productive in the process of channeling dissatisfaction and mobilizing for the purpose of political activism, and their interpretation does not only yield a clearer picture of the complex political situation and historical events, but also, through the actions of influential individuals, it provides insight into a number of other aspects of local culture, such as the forming of religious syncretism, the division of power in society or the cultural perception of time. The paper seeks to show that these prophecies do not aim to foretell future events, but rather serve as a means of ensuring the legitimacy of individuals in political struggles in the present time.
{"title":"The Political Use of Prophecies in Indonesia","authors":"M. Stajić","doi":"10.21301/eap.v15i1.10","DOIUrl":"https://doi.org/10.21301/eap.v15i1.10","url":null,"abstract":"The paper analyzes through different historical periods in Indonesia the political instrumentalization of three prophetic narratives based on the prophecies of the medieval Javanese king Jayabaya, and looks at the ways in which millenniarist organizations and political activists have used the myths of the Savior and the Golden Age to achieve their own goals. The form of prophetic narratives has proved extremely productive in the process of channeling dissatisfaction and mobilizing for the purpose of political activism, and their interpretation does not only yield a clearer picture of the complex political situation and historical events, but also, through the actions of influential individuals, it provides insight into a number of other aspects of local culture, such as the forming of religious syncretism, the division of power in society or the cultural perception of time. The paper seeks to show that these prophecies do not aim to foretell future events, but rather serve as a means of ensuring the legitimacy of individuals in political struggles in the present time.","PeriodicalId":43531,"journal":{"name":"Etnoantropoloski Problemi-Issues in Ethnology and Anthropology","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73599506","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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