The paper provides a diachronic overview of curricula for Serbian Language and Literature courses in secondary schools from 1990, when comprehensive secondary schools were reinstated into the education system of the Republic of Serbia, to present day. The structure and contents of the literary elements were monitored, analyzed, and contrasted. The aim of the curricula analysis in the indicated period is to ascertain and explain the positive and negative aspects of previous reforms to which literary content was exposed, and to, in accordance with the obtained results, draw appropriate conclusions and provide recommendations for their future improvements.
{"title":"Teaching literature in comprehensive secondary school curricula in Serbia (from 1990 to the present)","authors":"Jelena Mihajlović","doi":"10.5937/zrffp53-42795","DOIUrl":"https://doi.org/10.5937/zrffp53-42795","url":null,"abstract":"The paper provides a diachronic overview of curricula for Serbian Language and Literature courses in secondary schools from 1990, when comprehensive secondary schools were reinstated into the education system of the Republic of Serbia, to present day. The structure and contents of the literary elements were monitored, analyzed, and contrasted. The aim of the curricula analysis in the indicated period is to ascertain and explain the positive and negative aspects of previous reforms to which literary content was exposed, and to, in accordance with the obtained results, draw appropriate conclusions and provide recommendations for their future improvements.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89792999","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 Ivory Woman, Andrić uses dreams to thematize his protagonist's key problem, that is, one important aspect of relationships between men and women, along with signals of generalization (the protagonist's namelessness, the absence of specification of his social standing and duties) that are present in the story. The transformation that the ivory figurine experiences, by becoming a woman of flesh and blood in the protagonist's dream, is given in the framework of all the elements that are, according to C. G. Jung, essential for understanding the dreamer's unconscious experience: his life situation, current state of mind, and his interpretation of his own experience, so we also interpreted this transformation in this context. This is a meaningful, nightmarish dream, in which the protagonist meets an archetypal figure, the anima, his inner woman, who has in fact enshrouded his entire inner space. The protagonist's possessedness by the anima is mirrored in his quickly-changing moods, in the ill will that dominates his life, in the manner that he tells his story, as well as in the fact that his objectivity had been lost in the sea of irrationality. The fantastic narrative, which we interpreted as the protagonist's escape from facing himself, is based on the motif of the demonic woman, which is one of the typical negative forms of the anima. The dream confronts the protagonist with what he doesn't know about himself: he is the one sabotaging his emotional relationships.
{"title":"The feminine principle in Ivo Andrić's The Ivory Woman","authors":"Jasmina Ahmetagić","doi":"10.5937/zrffp53-41509","DOIUrl":"https://doi.org/10.5937/zrffp53-41509","url":null,"abstract":"In The Ivory Woman, Andrić uses dreams to thematize his protagonist's key problem, that is, one important aspect of relationships between men and women, along with signals of generalization (the protagonist's namelessness, the absence of specification of his social standing and duties) that are present in the story. The transformation that the ivory figurine experiences, by becoming a woman of flesh and blood in the protagonist's dream, is given in the framework of all the elements that are, according to C. G. Jung, essential for understanding the dreamer's unconscious experience: his life situation, current state of mind, and his interpretation of his own experience, so we also interpreted this transformation in this context. This is a meaningful, nightmarish dream, in which the protagonist meets an archetypal figure, the anima, his inner woman, who has in fact enshrouded his entire inner space. The protagonist's possessedness by the anima is mirrored in his quickly-changing moods, in the ill will that dominates his life, in the manner that he tells his story, as well as in the fact that his objectivity had been lost in the sea of irrationality. The fantastic narrative, which we interpreted as the protagonist's escape from facing himself, is based on the motif of the demonic woman, which is one of the typical negative forms of the anima. The dream confronts the protagonist with what he doesn't know about himself: he is the one sabotaging his emotional relationships.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"30 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82019610","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}
Vesna Barzut, Jelena Blanuša, Jasmina Knežević, Gordana Marinković
This study aimed to compare the psychological functioning of people with different experiences with coronavirus infection in the second year of the pandemic (February-June 2021) and to explore the role of psychological inflexibility in the experienced level of distress. A total of 860 people (753 females, 429 COVID-19 convalescents) participated in this study. Results showed that people who experienced the hospitalization of a loved one reported higher levels of stress. On the other hand, people who had recovered from COVID-19 infections showed higher levels of anxiety but, interestingly, lower levels of stress compared to those who had not been infected with the coronavirus. Sequential mediation analysis revealed that psychological inflexibility had both direct and indirect effects on general distress, with the latter occurring via fatigue and subjective well-being. This study provided additional support for the importance of psychological flexibility in mental health, even during adverse times such as COVID-19 pandemic.
{"title":"The association between psychological inflexibility and mental health during the third wave of COVID-19 pandemic","authors":"Vesna Barzut, Jelena Blanuša, Jasmina Knežević, Gordana Marinković","doi":"10.5937/zrffp53-43010","DOIUrl":"https://doi.org/10.5937/zrffp53-43010","url":null,"abstract":"This study aimed to compare the psychological functioning of people with different experiences with coronavirus infection in the second year of the pandemic (February-June 2021) and to explore the role of psychological inflexibility in the experienced level of distress. A total of 860 people (753 females, 429 COVID-19 convalescents) participated in this study. Results showed that people who experienced the hospitalization of a loved one reported higher levels of stress. On the other hand, people who had recovered from COVID-19 infections showed higher levels of anxiety but, interestingly, lower levels of stress compared to those who had not been infected with the coronavirus. Sequential mediation analysis revealed that psychological inflexibility had both direct and indirect effects on general distress, with the latter occurring via fatigue and subjective well-being. This study provided additional support for the importance of psychological flexibility in mental health, even during adverse times such as COVID-19 pandemic.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135101814","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 composition with representations of medieval rulers is a unique structure within the fresco-ensemble of the Hilandar refectory, which was signed by the painter Georgije Mitrofanović in 1621/1622, replacing the previous, three centuries older works. It depicts Serbian King Milutin and the Byzantine Emperor Andronikos II Palaiologos in a paraphrased version of the solution found in medieval portraits within the narthex of the Catholicon of the Monastery. With some modifications, it was incorporated into a new programmatic context, together with figures of Saint Simon the Monk (most likely representing the former King Uroš I) and Saint Stefan Dečanski. The formation of the latter pair is based on iconographic patterns that combine the initial theme of the pious rulers' patronage with motifs of martyrdom and unwavering faith. The new visual ensemble, featuring figures of pious and orthodox rulers from the medieval past, is completed by the insertion of the symbol of the cross between them and by placing all the figures under the protection and blessing of Christ, the Angel of Great Counsel. Why did the creator of this pictorial program connect the bygone rulers, patrons of the monastery, with a distinctive, non-traditional representation of Christ? How does the passage of time since the medieval period affect the reception of this iconographic group? What does the medallion with the cross and Christogram signify in the given arrangement? These and similar questions, mostly overlooked in previous discussions focused on the restoration aspect of Mitrofanović's work, stem from the endeavour to understand what was achieved through the characteristics and circumstances of the era in which the refectory was repainted, particularly in the context of the challenges faced by the Orthodox community within the then Ottoman state.
这幅以中世纪统治者为代表的作品是Hilandar餐厅壁画中的一个独特结构，由画家Georgije mitrofanovic在1621/1622年签署，取代了之前三个世纪以前的作品。这幅画描绘了塞尔维亚国王米卢廷和拜占庭皇帝安德洛尼科斯二世(Andronikos II Palaiologos)，这幅画是在修道院天主教教堂内的中世纪肖像画中发现的解决方案的转述版本。经过一些修改，它被纳入了一个新的规划环境，连同圣西门修士(最有可能代表前国王乌洛什一世)和圣斯特凡·德安斯基的人物。后一对的形成是基于图像模式，结合了最初的主题，虔诚的统治者的赞助与殉难和坚定的信仰的主题。新的视觉组合以中世纪虔诚和正统统治者的形象为特色，在他们之间插入十字架的象征，并将所有的人物置于大顾问天使基督的保护和祝福之下，从而完成了视觉组合。为什么这个绘画项目的创造者将过去的统治者，修道院的赞助人，与一个独特的，非传统的基督代表联系起来?自中世纪以来，时间的流逝如何影响对这一肖像组的接受?在给定的排列中，带有十字架和基督图案的大奖章表示什么?这些和类似的问题，在之前的讨论中大多被忽视，主要集中在米特罗法诺维奇作品的修复方面，源于努力理解通过重新粉刷食堂时代的特征和环境所取得的成就，特别是在当时奥斯曼国家东正教社区面临挑战的背景下。
{"title":"Georgije Mitrofanović's fresco composition with representations of medieval rulers in the southern apse of the Hilandar refectory","authors":"Nikolaos Dionysopoulos, Vesna Milanović","doi":"10.5937//zrffp53-46720","DOIUrl":"https://doi.org/10.5937//zrffp53-46720","url":null,"abstract":"The composition with representations of medieval rulers is a unique structure within the fresco-ensemble of the Hilandar refectory, which was signed by the painter Georgije Mitrofanović in 1621/1622, replacing the previous, three centuries older works. It depicts Serbian King Milutin and the Byzantine Emperor Andronikos II Palaiologos in a paraphrased version of the solution found in medieval portraits within the narthex of the Catholicon of the Monastery. With some modifications, it was incorporated into a new programmatic context, together with figures of Saint Simon the Monk (most likely representing the former King Uroš I) and Saint Stefan Dečanski. The formation of the latter pair is based on iconographic patterns that combine the initial theme of the pious rulers' patronage with motifs of martyrdom and unwavering faith. The new visual ensemble, featuring figures of pious and orthodox rulers from the medieval past, is completed by the insertion of the symbol of the cross between them and by placing all the figures under the protection and blessing of Christ, the Angel of Great Counsel. Why did the creator of this pictorial program connect the bygone rulers, patrons of the monastery, with a distinctive, non-traditional representation of Christ? How does the passage of time since the medieval period affect the reception of this iconographic group? What does the medallion with the cross and Christogram signify in the given arrangement? These and similar questions, mostly overlooked in previous discussions focused on the restoration aspect of Mitrofanović's work, stem from the endeavour to understand what was achieved through the characteristics and circumstances of the era in which the refectory was repainted, particularly in the context of the challenges faced by the Orthodox community within the then Ottoman state.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135103456","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 describing the life and deeds of Serbian Holy King Stefan of Dečani (1322-1331), the author of the second biography of the Serbian king and abbot of the Dečani Monastery, Grigorije Camblak (c.1364-1419/1420) gives an account of the construction of the Holy King's endowment dedicated to Christ Pantokrator (Figs. 1-2). He describes in detail the way in which the marble blocks of the church were carved with great skill, prepared and perfectly inserted into the overall structure of the building. He states, "...and the stones are wonderfully and most artfully joined together, so that it seems as if the face of the whole church is one stone wonderfully joined together with skill, so that it seems as if one piece of stone, appearing in an unspeakable beauty…since it is a perfectly carved stone and testifies to the dignity of those who created it" (Camblak, 1936, p. 23; Trifunović, 1985, p. 183). The paper notes that the quoted description of the church construction emphatically represents learned ancient literary topos used to describe the most representative architectural monuments, especially those made of marble and deals with the origin and tradition of this specific way of describing the building construction.
在描述塞尔维亚德阿尼神圣国王斯特凡(1322-1331)的生平和事迹时，塞尔维亚国王和德阿尼修道院院长第二部传记的作者Grigorije Camblak(约1364-1419/1420)描述了神圣国王为基督Pantokrator捐赠的建筑(图1-2)。他详细描述了教堂的大理石块是如何以精湛的技艺雕刻而成，并完美地嵌入到建筑的整体结构中。他说:“……这些石头奇妙而巧妙地结合在一起，仿佛整个教堂的脸都是一块石头，巧妙地结合在一起，仿佛一块石头，呈现出一种难以形容的美……因为它是一块完美雕刻的石头，证明了创造者的尊严”(Camblak, 1936, p. 23;特里富诺维奇，1985年，第183页)。本文指出，所引用的对教堂建筑的描述着重代表了古代文学的主题，用于描述最具代表性的建筑古迹，特别是大理石建筑，并讨论了这种描述建筑建筑的具体方式的起源和传统。
{"title":"Grigorije Camblak's description of the construction of the Dečani church: Its features and models","authors":"Anđela Gavrilović","doi":"10.5937/zrffp53-44977","DOIUrl":"https://doi.org/10.5937/zrffp53-44977","url":null,"abstract":"In describing the life and deeds of Serbian Holy King Stefan of Dečani (1322-1331), the author of the second biography of the Serbian king and abbot of the Dečani Monastery, Grigorije Camblak (c.1364-1419/1420) gives an account of the construction of the Holy King's endowment dedicated to Christ Pantokrator (Figs. 1-2). He describes in detail the way in which the marble blocks of the church were carved with great skill, prepared and perfectly inserted into the overall structure of the building. He states, \"...and the stones are wonderfully and most artfully joined together, so that it seems as if the face of the whole church is one stone wonderfully joined together with skill, so that it seems as if one piece of stone, appearing in an unspeakable beauty…since it is a perfectly carved stone and testifies to the dignity of those who created it\" (Camblak, 1936, p. 23; Trifunović, 1985, p. 183). The paper notes that the quoted description of the church construction emphatically represents learned ancient literary topos used to describe the most representative architectural monuments, especially those made of marble and deals with the origin and tradition of this specific way of describing the building construction.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"156 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135101444","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 analyses two war travelogues from World War I whose authors served in the Serbian Army on the Macedonian front, Ruth Farnham's A Nation at Bay: What an American Woman Saw and Did in Suffering Serbia and Douglas Walshe's With the Serbs in Macedonia. Farnham's duty was to take charge of the medical stores brought to Serbia from various English and American sources and Walshe was a driver in a Light Supply and Ammunition Column of Ford vans attached to the Serbian Army. Apart from offering detailed descriptions of their duties, Farnham and Walshe convey through their travelogues a very favourable picture of Serbia and its people, thus distancing themselves from the discourse of Balkanism, predominant in Great Britain and the United States during World War I. With due respect they write about Serbian soldiers, their ethics and humane attitude towards the Austrian and Bulgarian prisoners of war, whereas they do not hesitate to condemn the Allies' treasonous response towards the Serbian Army in times of its greatest need. Having come to the Macedonian front to learn about Serbia and help it, Ruth Farnham and Douglas Walshe can be said to have challenged the negative reputation Serbia had in the British and American public. Their war travelogues clearly show that what they saw and experienced is in many ways incongruous with the then predominant discourse of Balkanism. That is why Farnham reveals to her reader that she feels "the highest regard for that brave little nation, Serbia, and its gallant and heroic people" and Walshe ends his book in a simple and memorable sentence: "It has been a privilege to serve them".
{"title":"A nation at bay: Ruth Farnham's and Douglas Walshe's accounts from the Macedonian front","authors":"Milica Spremić-Končar","doi":"10.5937/zrffp53-41660","DOIUrl":"https://doi.org/10.5937/zrffp53-41660","url":null,"abstract":"This paper analyses two war travelogues from World War I whose authors served in the Serbian Army on the Macedonian front, Ruth Farnham's A Nation at Bay: What an American Woman Saw and Did in Suffering Serbia and Douglas Walshe's With the Serbs in Macedonia. Farnham's duty was to take charge of the medical stores brought to Serbia from various English and American sources and Walshe was a driver in a Light Supply and Ammunition Column of Ford vans attached to the Serbian Army. Apart from offering detailed descriptions of their duties, Farnham and Walshe convey through their travelogues a very favourable picture of Serbia and its people, thus distancing themselves from the discourse of Balkanism, predominant in Great Britain and the United States during World War I. With due respect they write about Serbian soldiers, their ethics and humane attitude towards the Austrian and Bulgarian prisoners of war, whereas they do not hesitate to condemn the Allies' treasonous response towards the Serbian Army in times of its greatest need. Having come to the Macedonian front to learn about Serbia and help it, Ruth Farnham and Douglas Walshe can be said to have challenged the negative reputation Serbia had in the British and American public. Their war travelogues clearly show that what they saw and experienced is in many ways incongruous with the then predominant discourse of Balkanism. That is why Farnham reveals to her reader that she feels \"the highest regard for that brave little nation, Serbia, and its gallant and heroic people\" and Walshe ends his book in a simple and memorable sentence: \"It has been a privilege to serve them\".","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"88 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81598689","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 discusses the derivational and semantic characteristics of zoonymous onomatopoeia, based on the imitation of animal sounds. According to their morphological and communicative features, these units are primarily interjections. Nevertheless, from other onomatopoeic words, zoonymous onomatopoeias stand out for their productivity and semantic and derivational characteristics. The methodology applied in the work includes the usual procedures for semantic-derivative research - analysis of the formation structure of derivatives and the application of elements of componential analysis in the interpretation of the semantic extension of the observed units. Derivative analysis shows that most of these units have the inductive ability to create derivatives. In some cases, the derivation is blocked, which can be conditioned by different causes. Motive onomatopoeic interjections form nests of similar content. The most productive is the formation of verbs, which take on an inductive function and form a whole series of new derivatives. On the semantic level, zoonymous onomatopoeias are mostly one-meaning words, but their derivatives, verbs and nouns, are characterized by polysemy, the basis of which is most often a metaphorical transposition from the animal to the human as a designate, which is often accompanied by negative expressiveness, which goes in the derogatory direction, although there are other examples by positive expressiveness.
{"title":"Derivational and semantic characteristics of zoonymous onomatopoeia in Serbian","authors":"Gordana Štasni, Gordana Štrbac","doi":"10.5937/zrffp53-41098","DOIUrl":"https://doi.org/10.5937/zrffp53-41098","url":null,"abstract":"The paper discusses the derivational and semantic characteristics of zoonymous onomatopoeia, based on the imitation of animal sounds. According to their morphological and communicative features, these units are primarily interjections. Nevertheless, from other onomatopoeic words, zoonymous onomatopoeias stand out for their productivity and semantic and derivational characteristics. The methodology applied in the work includes the usual procedures for semantic-derivative research - analysis of the formation structure of derivatives and the application of elements of componential analysis in the interpretation of the semantic extension of the observed units. Derivative analysis shows that most of these units have the inductive ability to create derivatives. In some cases, the derivation is blocked, which can be conditioned by different causes. Motive onomatopoeic interjections form nests of similar content. The most productive is the formation of verbs, which take on an inductive function and form a whole series of new derivatives. On the semantic level, zoonymous onomatopoeias are mostly one-meaning words, but their derivatives, verbs and nouns, are characterized by polysemy, the basis of which is most often a metaphorical transposition from the animal to the human as a designate, which is often accompanied by negative expressiveness, which goes in the derogatory direction, although there are other examples by positive expressiveness.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86967875","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}
After the death of the Russian patriarch Sergius, preparations for the election of a new patriarch began immediately, in which the government of the Soviet Union provided ample assistance. Unlike the last election, in which Sergius had been elected through the Synod and several bishops because of warfare, this time it was planned for the election assembly to be held in full presence of all the bishops, priests, and lay people. It was also planned to invite the heads of other Orthodox churches, including the Serbian Orthodox Church. As Patriarch Gavrilo was prevented from responding to the summons, as he was in captivity and nothing was known about him, his then deputy metropolitan of Skopje, Josif Cvijović, and the bishop of Niš, Jovan Ilić, went to the assembly. At that time, they witnessed the strengthening of the Russian Church, with the help of the state.
{"title":"Participation of the delegation of the Serbian Church in the election of the Russian patriarch in 1945 and the arrival of the Russian Church in Yugoslavia","authors":"Boris Fajfrić","doi":"10.5937/zrffp53-40679","DOIUrl":"https://doi.org/10.5937/zrffp53-40679","url":null,"abstract":"After the death of the Russian patriarch Sergius, preparations for the election of a new patriarch began immediately, in which the government of the Soviet Union provided ample assistance. Unlike the last election, in which Sergius had been elected through the Synod and several bishops because of warfare, this time it was planned for the election assembly to be held in full presence of all the bishops, priests, and lay people. It was also planned to invite the heads of other Orthodox churches, including the Serbian Orthodox Church. As Patriarch Gavrilo was prevented from responding to the summons, as he was in captivity and nothing was known about him, his then deputy metropolitan of Skopje, Josif Cvijović, and the bishop of Niš, Jovan Ilić, went to the assembly. At that time, they witnessed the strengthening of the Russian Church, with the help of the state.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89626650","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}
{"title":"Bibliografija - pomoć svakom dijalektologu - Marković Brankica: Ka indeksiranju dijalekatskih tekstova publikovanih u Republici Srbiji, Srpski dijalektološki zbornik, Srpska akademija nauka i umetnosti i Institut za srpski jezik SANU, Beograd, 2022","authors":"Gordana Dragin","doi":"10.5937/zrffp53-44671","DOIUrl":"https://doi.org/10.5937/zrffp53-44671","url":null,"abstract":"","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"4 2","pages":""},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72541608","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 Greek deity Dionysos had a particular affinity for war galleys, a relationship perhaps explained by the Homeric Hymn to Dionysos in which Tyrsenian pirates kidnap him on their galley. Soon grape vines entangle the rigging and some of the pirates attempt to escape their fate by jumping into the sea: Dionysos transforms them into dolphins. This hymn served as an occasional motif in pagan art and may explain the miniaturized replicas of seagoing oared ships that played an integral role in the ancient Dionysian cult. These flimsy Dionysian ship carts moved overland in parades, either on wheels or upon the shoulders of celebrants. While the earliest examples may date to the Late Bronze Age, they are best known from a series of three late Archaic-period representations on black-figure skyphoi, now in museums in Athens, Bologna and London. No two Archaic-period Dionysian ship-cart representations are identical in all details. While perhaps due to painters' whims, this diversity in appearance may reflect changes to the ship carts at each annual appearance, analogous to modern-day parade floats. Due to the two-dimensional nature of these ship-cart images, it is impossible today to determine whether the Dionysian ship carts reflected in them consisted of actual vessels-purpose-built and placed on wagons during the procession, employed solely for the Dionysian celebrations-or floats in the form of miniaturized galleys. This paper supplies context and explains the process of creating a three-dimensional digital reconstruction of a generic Late Archaic-period Dionysian ship cart employing contemporaneous imagery and artifacts.
{"title":"Reconstructing a late Archaic-period Dionysian ship cart","authors":"Shelley Wachsmann, Donald Sanders","doi":"10.5937/zrffp53-45389","DOIUrl":"https://doi.org/10.5937/zrffp53-45389","url":null,"abstract":"The Greek deity Dionysos had a particular affinity for war galleys, a relationship perhaps explained by the Homeric Hymn to Dionysos in which Tyrsenian pirates kidnap him on their galley. Soon grape vines entangle the rigging and some of the pirates attempt to escape their fate by jumping into the sea: Dionysos transforms them into dolphins. This hymn served as an occasional motif in pagan art and may explain the miniaturized replicas of seagoing oared ships that played an integral role in the ancient Dionysian cult. These flimsy Dionysian ship carts moved overland in parades, either on wheels or upon the shoulders of celebrants. While the earliest examples may date to the Late Bronze Age, they are best known from a series of three late Archaic-period representations on black-figure skyphoi, now in museums in Athens, Bologna and London. No two Archaic-period Dionysian ship-cart representations are identical in all details. While perhaps due to painters' whims, this diversity in appearance may reflect changes to the ship carts at each annual appearance, analogous to modern-day parade floats. Due to the two-dimensional nature of these ship-cart images, it is impossible today to determine whether the Dionysian ship carts reflected in them consisted of actual vessels-purpose-built and placed on wagons during the procession, employed solely for the Dionysian celebrations-or floats in the form of miniaturized galleys. This paper supplies context and explains the process of creating a three-dimensional digital reconstruction of a generic Late Archaic-period Dionysian ship cart employing contemporaneous imagery and artifacts.","PeriodicalId":55773,"journal":{"name":"Zbornik Radova Filozofskog Fakulteta u Pristini","volume":"56 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135101807","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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