Spatial patterns of serbian migrants in Vienna and in the settlements of their origin in Eastern Serbia

At this moment, the question of immigration became a pan-European issue and it overlaps with other emotional matters such as ethnicity and identity. As a consequence of an increasing globalization, international migrants are targeting primarily larger cities as they provide more opportunities and support networks which are so crucial to newcomers. In the same time, such an immense emigration is significantly influencing development of communities and their places of origin. Vienna has a long tradition of multicultural population, where immigrants from Serbia the largest minority group in the city. Researching Serbian immigrants in Vienna can be used as a reference point in establishing specific characteristics of the group and determine the scope of the idea of „Balkanization” as an urban pattern. The proximity and accessibility of Vienna to homeland is also an important factor for vivid reciprocal influences. Majority of Viennese Serbs is spending holyday time in settlements of their origin. They are also bringing new-acquired habits in this environment, transforming old spatial patterns. This process is especially observable in the case of Eastern Serbia, as a part of country with the highest level of emigration. Thus, specific spatial patterns are recognizable in both cases - as well in Vienna as in Eastern Serbia. The aim of this paper is to present these “mixed” patterns. Finally, the contribution of the paper is to open academic and scientific debate about spatial patterns of migrants’ life in these complex spaces that they can be used as a role-model for further research of spatial patterns of “migrant culture”

Refleksivni dijalog s tekstom: tumačenje lirike nakon (post)strukturalizma

Pristupajući problemu interpretacije lirike i njenog značaja za savremenu nauku o književnosti, autor ovog rada polazi od elaboracije pojmova čitanja, razumevanja i tumačenja književnosti. Posebna pažnja pri tome je poklonjena glavnim predstavnicima i stanovištima produkcijsko-konstrukcijske i recepcijsko-lektorske teorijske paradigme (R. Jakobson, M. Rifater, T. S. Eliot, H. Blum, H. R. Jaus, Ž. Derida, P. De Man, S. Fiš). Obrazlažući vlastiti pristup, autor se priklanja savremenoj dijaloškoj teoriji (M. Bahtin, P. Zima), zastupajući koncept “refleksivnog identiteta čitanja” i predlažući pojmove interpretativnog fokusa i lirske dominante kao teorijsko-metodološke konstrukte na kojima je moguće zasnovati tumačenje lirskog pesničkog teksta nakon (post)strukturalističkog iskustva. Kao eksplikativni primeri ovakvog razumevanja interpretacije uzete su dve značajne pesme hrvatskog modernizma – “Svakidašnja jadikovka” Tina Ujevića i “Mrtvac” Vladimira Vidrića

Methodology for statistical analysis of squat rail defects

This paper proposes a methodology for statistical analysis of data obtained by visual inspection of squat defects on the rail head. Rail inspection by visual observation, including measurement of the squat defect position and depth was performed in Pančevo Varoš railway station in 2017. The obtained data about the squat rail defect (defect type 227 according to the UIC 712) on the main tracks was analysed in this paper. The rail defect position was determined regarding the position of the nearest sleeper in the track. Statistical analysis of the occurrence of squat rail defect was conducted according to the performed visual inspection in the field. Statistical data processing was performed for tracks zones according to the vertical stiffness of rail support. Furthermore, the impact of traffic load, the type and the arrangement of sleepers on the appearance of the squat rail defect was considered

Portrait of a Noble Woman in the memorial of Pavle Beljanski

Portret plemkinje, nedatiran i neatribuisan, izložen u Memorijalu Pavla Beljanskog, tipičan je primer vizualizacije ženskog identiteta u renesansi. Iščitavanjem prezentacionih kodova renesansnog doba u ovom radu se teži odgovorima vezanim za ideju identiteta predstavljene, kao i onima o poreklu samog portreta.The painting Portrait of a Noble Woman (oil on canvas, 56 x 47 cm) is on display in the Memorial Collection of Pavle Beljanski since 1966 as part of the Memorial dedicated to this important collector who, besides part of the Serbian art, collected many paintings of European new age art. The painting is undated and unattributed. Beljanski bought it in Rome in 1949 as a Portrait of a Princess and a piece by 'an unknown author of the Spanish school from the 16th century.' The elements of the painting shape the contours of the identity of an unknown woman, which is reconstructed in an interpretative procedure that includes the analysis of the social and cultural context, as well as the gender construction of the personality. The manner in which the face of the woman is constructed and placed suggests that she projects the aesthetic, ethical and social ideals of the Renaissance, most likely of the second half of the 16th century. Her hair, clothes and especially jewelry indicate the status of a married woman from aristocracy. The jewelry, which is visually the most dominant element of the painting, implies not only the high social status, but also a probable north Italian, most likely Venetian origin of the painting. The 'Spanish' identity emphasized in Beljanski's note has a special place in the construction of the presentation of the noble woman. It indicates the articulation of the Renaissance female identity with clothes, accessories and behavioral techniques similar to the ones in the Spanish court. The Renaissance politics of gender roles demanded the reconstruction of the woman's face that visually precisely demonstrates what the society expects of her. In that sense the woman from the painting in the Memorial fully embodies the presupposed idea of the female Renaissance identity. At the same time, the calm gaze directed at the observer expresses the emphasizes personality which Renaissance bestowed upon female portraits

Jewish identity in early modern European history

Jevrejski identitet u ranom modernom periodu - epohi u kojoj tradicionalno antijevrejstvo prerasta u antisemitizam - oblikovan je nasiljem, izgonom, getoizacijom, formama vizuelne diferencijacije, integracijom, ali ne i asimilacijom u okvire evropske hrišćanske kulture. Izučavanjem odnosa intelektualnih i fizičkih kategorija, duše i tela kao socijalnih i istorijskih konstrukta, može se, donekle, odgovoriti na pitanje šta to znači biti Jevrejin u ranom modernom dobu. Na osnovu iskustava aktuelnih protagonista i posmatrača, u njihovoj sopstvenoj realnosti, ovaj tekst predstavlja percepciju i samopercepciju Jevreja u mentalnim i vizuelnim kodovima renesanse.Jewish identity in the early modern period - the era in which traditional anti-Judaism turned into anti-Semitism - is shaped by violence, expulsion, ghetoisation, visual forms of differentiation, integration but not assimilation into the European Christian culture. Studying the relationship of intellectual and physical categories, soul and body as a social and historical construct, it can be, to some extent, answer the question what it means to be Jewish in the early modern period. Based on the experiences of actual protagonists and observers, in their own reality, this text represents the perception and self-perception of Jews in the mental and visual codes of the Renaissance

Presentation and self-presentation of Jews in early modern European history

Renesansna vizuelna kultura, sakralna i profana, oblikovala je lik Jevrejina kao grotesknog, iskvarenog i onog koji kvari. Međutim, razvoj i trajanje tog stereotipa nisu bili linearni, već su se menjali unutar promenljivog konteksta hrišćansko-jevrejskih odnosa. Iako je imažerija Adversus Judaeos nesporna, potrebno je izučiti njen mehanizam i skrenuti pažnju na postojanje promenljive dinamike predstavljanja Jevreja. Vizualizacija Sinagoge i starozavetnih heroja ukazuje na ambivalentnost prikazivanja jevrejskih toposa u ranom modernom dobu. Posebna pažnja skreće se na polje jevrejske vizuelne kulture. Jevrejska umetnost je samosvojna, ali je, istovremeno, i izdanak hrišćansko-jevrejskog dijaloga i međusobne razmene. Ona je proizvod jevrejskog duha, ali i integralni segment evropske kulture ranog modernog doba.Renaissance visual culture, sacred and profane, has shaped the character of the Jew as a grotesque and corrupt. However, the development and duration of this stereotype was not linear, but has changed within the changing context of Christian-Jewish relations. Although the imagery Adversus Judaeos is indisputable, it is necessary to study its mechanism and turn the attention to the existence of a variable dynamic of representations of Judaism. Visualization of the Synagogue and the Old Testament heroes points to the ambivalence of representation of Judaism in the early modern period. Special attention is diverted to the field of Jewish visual culture. Jewish art is unique, but, at the same time, is the offspring of Christian-Jewish dialogue and mutual exchange. It is the product of the Jewish spirit but also an integral segment of the European culture of the early modern era

Shaman, Intruder, Parasite: Subversive Figures of the South Korean Identity Narratives (Bong Joon-Hoo\u27s Parasite and Kim Tong-Ni\u27s Ulhwa, The Shaman

Starting from a narratological point of view implying common ground of different cultural forms which have a narrative basis, this paper primarily deals with two exemplary works of South Korean art in recent decades – Kim Tong-ni\u27s novel Ulhwa the Shaman (1978) and Bong Joon-ho\u27s famous Parasite movie (2019). Although belonging to different periods and different media, these important works share common features which testify to the significant phenomena of Korean social life. Generally speaking both of them show the collision of the old and the new, the traditional and the modern, eastern and western conceptions of life, beliefs of animism and consumerism, faith in the ethical values of ancestors and today\u27s pragmatic trust in technical progress, and solid material and financial status. The main narrative plot in both works is thereby set within family circles – in the Kim Tong-ni\u27s novel as a conflict between the parents\u27 and their descendants\u27 generations, and in the Bong Joon-ho\u27s film as a class confrontation of two families from different social strata. As the main characters in the centre of these fictional and filmic narratives appear typical personalities of shaman, domestic intruder and social parasite, which embody conflicted attitudes towards life choices. Being particularly artistically shaped, they actually represent subversive figures that question the perpetuated identity conceptions of individuals and collectives. Despite ending differently – tragically or tragicomically – both works show that the conflict of values permanently determines the Korean social reality and self-conceptions of the modern and the contemporary age

Application of the Ballast Water Management Plan on a Passanger Vessel

Balast je nužan za kontrolu trima, nagiba, gaza, stabilnosti ili naprezanja broda. Kako god, balastna voda može sadržavati morske organizme i patogen koji unesen u moru uključujući i estuarije, ili u tokovima slatke vode, može uzrokovati opasnost za okoliš, ljudsko zdravlje, imovinu i resurse, narušiti biološku raznovrsnost ili ometati druge legitimne upotrebe takvih područja. Višegodišnji napori međunarodne pomorske zajednice, njenih zemalja članica i brodarske industrije da ublaži prijetnje, rizike i opasnosti koji proizlaze iz prijenosa vodenih organizama i patogena putem balastnih voda kulminirali su 13. veljaĉe 2004. godine kada je na Međunarodnoj konferenciji o upravljanju brodskih balastnih voda i sedimenta, odrţanoj u sjedištu Međunarodne pomorske organizacije (IMO) u Londonu, 13. veljaĉe 2004. godine, konsenzusom usvojena Međunarodna konvencija o nadzoru i upravljanju brodskim balastnim vodama i sedimentom, 2004.Ballast water is essential to control trim, list, draught, stability, or stresses of the ship. However ballast water may contain aquatic organisms or pathogens which, if introduced into the sea including estuaries, or into fresh water courses, may create hazards to the environment, human health, property or resources, impair biological diversity or interfere with other legitimate uses of such areas. The multinational efforts of the International Maritime Community, its Member States and the shipping industry to mitigate the threats, risks and dangers arising from the transfer of aquatic organisms and pathogens through ballast water culminated on 13 February 2004 when the International Convention on the Management of Marine Ballast and Sediments held at the International Maritime Organization (IMO) in London on 13 February 2004, by consensus, adopted the International Convention on the Control and Management of Marine Ballast water and sediment, 2004

Literary texts in French language textbooks and reference books from the perspective of contemporary approaches to foreign language teaching

Предмет ове докторске дисертације су функција и дидактизација књижевног текста у уџбеничкој литератури француског као страног језика француских и домаћих аутора из друге половине 20. и с почетка 21. века, намењеној средњем и вишем нивоу, као и улога ученика – читаоца књижевног текста у различитим методама учења страног језика. Књижевни текстови су у традиционалној граматичко-преводној методи (током целе друге половине деветнаестог века, а и знатно касније) заузимали средишње и готово искључиво место у настави страних језика. У првој деценији 20. века директна метода их „искључује“ из уџбеника страног језика, али их „враћа“ комбинована (по француском дидактичару Пирену „активна“) метода, у којој се препознају елементи и традиционалне и директне методе. Оваква концепција наставе на средњем и вишем нивоу приметна је у уџбеницима из 50-их година у којима књижевни текст служи као повод за активности усмене и писане продукције – за говор о тексту („објашњавање текста“) или писмени састав (слободни састав, „коментарисање текста“). Повезујући и тематску и структурну и стилистичку димензију текста, појединачне елементе текста са контекстом, професор објашњава текст и поставља питања, а ученик одговара на њих, примењујући своје акумулирано знање. Иако је ученик активнији него у претходним периодима, у средишту наставне активности налазе се наставник и текст. За аутора уџбеника најбитнији задатак представља избор погодних текстова за остваривање првенствено образовно-васпитног а затим и језичког циља наставе...The subject of this doctoral dissertation are the function and didacticisation of literary texts in the textbook literature pertaining to French as a foreign language by French and domestic authors from the second half of the 20th and the early 21st century, aimed at the intermediate and advanced levels, as well as the role of students as readers of literary texts within the framework of various methods of learning a foreign language. Within the framework of the traditional grammatical-translation method (during the course of the entire second half of the 19th century, and even much later), literary texts occupied a central place and were almost solely used in foreign language teaching. In the first decade of the 20th century, the direct method “excluded” them, so to speak, from foreign language textbooks, but they were “brought back” into practice by the socalled combined method (referred to as “active” by the French didacticist Puren), wherein one can recognise elements of both the traditional and the direct method. Such a concept of teaching at the intermediate and advanced levels was noticeable in textbooks dating from the 1950’s, wherein a literary text served as a lead-in for oral and written production activities – for speaking about the text in question (“text explanation”) or a writing exercise (free composition essay, “commenting on the text”). By linking the thematic, structural and stylistic dimensions of the text, that is, individual text elements with the context, the teacher explains the text and asks questions about it, and the students answer them, applying their accumulated knowledge. Even though the students are more active than they were during the preceding period, the teacher and the text are at the centre of teaching activities. For a textbook author, the most important task is to make a selection of texts suitable for realising primarily the educational and then the linguistic objective of teaching..