In the Shadow of the French Revolution: Theatre Life of Venice according to Marco Foscari

This paper was primarily based on correspondence of Marco Foscari IV. member of respectable patrician family who served from 1789 to 1792 as Captain Raspa of a small fortress in Istria. His correspondence with close friends discloses opportunities in Venice, as well as events related to its nightlife in which the theatre, along with opera, played the dominant role. Its focus is research on influence of French Revolution on Venetian theatre and opera. In search for micro level of analysis, authors put their focus on local perspective on French-Italian relations, and their influence on opera. Therefore, authors singled out one interesting event which sparked great public attention in Venice - debates and process of the construction of a new theatre in the San Fantino, sestiere de San Marco, theatre La Fen ice. At the time of prohibition of the public and private gatherings, in early 1790s, in this paper authors analysed position of opera

Српске војне музике у земљама савезника током Великог рата (1916-1918)

This paper results from research of archival collections and periodicalson orchestras and prominent musicians of Serbian Army in the Great War. An author extensively considers organization, conception and achievements of the military division orchestras/bands of the Kingdom of Serbia in the Great War. Most prominent orchestra of Serbia Army, Music of the Royal Guard and their conductor, composer Stanislav Binički, successfully toured France in September 1916. Author also examines the dynamic concert activities of the Music of the Cavalry Division conducted by Dragutin F. Pokorni in North Africa. Aforementioned orchestra has established a network of fans from the Allied countries, mostly elite members of the French and British troops etc., and societies of Algeria and Tunisia. The paper also touches upon the work of the remaining seven military bands of the Serbian army and the prisoners’ orchestra called Slovene-Serbian Music settled in Corfu (Greece). An authors’ approach to Serbian military music in WWI was based on observation of three main functions of the military music in the context of the Great War: as a part of cultural diplomacy, promotion of national identity and construction of collective memory. An author raises the important hypothesis that rich activity of orchestras and bands of Serbian Army in WWI facilitate their professionalization in the encounter with other cultures and by performing in front of the different structure of audience and critic.Овај рад је настао као резултат обимног истраживања књижних и архивских фондова Народне библиотеке Србије, Војног архива и Музиколошког института Српске академије наука и уметности као и великог броја часописа објављених током Великог рата у Тунису, Србији, Македонији, Алжиру и Грчкој. Пажња ауторке усредсређена је на организацију, репертоар и постигнућа српских војних оркестара у савезничким земљама од 1916. па све до краја Великог рата. Ауторкин приступ се заснива на посматрању три главне функције српске војне музике током Првог светског рата: део културне дипломатије, у очувању националног идентитета и изградњи колективног сећања

In the net of disciplinary and regulatory mechanisms : musicians in Belgrade 1941-1944

Predmet ove doktorske disertacije su muzičari u Beogradu tokom nemačke okupacije u Drugom svetskom ratu. Teorijski okvir istraživanja čini istorijska relaciona biopolitika Mišela Fukoa koja se pokazala kao podobna za spajanje istraživačke znatiželje o statusu muzičara u određenom kriznom „društvenom stanju“ i na primeru konkretnih praksi i znanja. Biopolitičke strategije primenjene su u ovoj disertaciji na dva operacionalna nivoa, koji se kao i Fukoovi disciplinarni (mikro) i regulacioni mehanizmi (makro), prožimaju. S jedne strane, biopolitika je primenjena na analizu konkretnih znanja i praksi na kojima su argumentovane disciplinarne mere i stvaran hipotetički okvir buduće regulacije društva. Uočena je, s tim u vezi, dominancija bioloških i rasnih parametara u organizaciji svih aspekata društva okupiranog Beograda, te su praćene dve verzije biopolitike nemačka i srpska. Njihovi susreti ili razmimoilaženja i uticaj na profesiju muzičara u periodu okupacije, te moguće hipotetičke projekcije uloge muzičara u budućem društvu posmatrane su kao deo opšte biopolitike stanovništva. Analitički su, pritom, raščlanjene naizgled tanke granice između nacističke biopolitike u matici i u okupiranom Beogradu, kao i srpske biopolitike u odnosu na uzornu nacističku. S tim u vezi, uočeno je kako je naspram nacističke biopolitike utemeljene na doktrinarnoj rasnoj teoriji, zatim jasnoj hijerarhiji naroda i kultura u budućoj Novoj Evropi, srpska verzija biopolitičke regulacije društva težila očuvanju kolektivnog entiteta predstavljenom kroz koncepte „ruralnih distopija“, uokvirenih konceptima zadružne staleške države, obnove srednjevekovlja, svetosavskog kulta, ruralizacije i patrijarhata. Iako je srpska bila inferiorna u odnosu na nemačku, posmatrane kao različiti programi biopolitike, uočeno je da su obe biopolitičke verzije pokazale nedovoljno profilisanu regulaciju i dominaciju disciplinarnih mera koje su dovodile i do autodestrukcije, kako ideala arijevskog, tako i srpskog kolektivnog entiteta. S druge strane, analizirani su na mikro nivou konkretni susreti disciplinarnih praksi i znanja u okupiranom Beogradu, određenih centara moći i interesa, te njihovog uticaja na poziciju muzičara zaposlenih u četiri najznačajnije institucije: Srpskom narodnom pozorištu, Kolarčevoj zadužbini sa Kolarčevim narodnim univerzitetom, Državnoj muzičkoj akademiji sa Srednjom muzičkom školom i Vojničkom radio Beogradu (Soldatensender Belgrad). Primenom biopolitičke perspektive uočeno je da su izopšteni i nepodobni muzičari činili ravnopravni pol, Drugo bez kog se nije moglo definisati „šta je ono što se disciplinuje, a šta ono što ostaje“. Pored analitičkog cilja ove disertacije, a to je razgraničavanja različitih verzija biopolitike nacističke i srpske, te njima srodnih vizija budućeg društva koje su uticale na status muzičara, u izradi ove disertacije postojao je i interpretativno-teorijski cilj, a to je pronalaženje adekvatne društvene segmentacije muzičara koja bi zadovoljila sociološke kriterijume, a bila primenljiva na analizu pozicije muzičara u okupiranim metropolama u Drugom svetskom ratu. U vezi sa tim, interpretativno-teorijsko usmerenje rezultiralo je podelom muzičara u okupiranom Beogradu na pet osnovnih grupacija: 1) nepodobni muzičari kao što su Jevreji, komunisti, Romi, te u manjoj meri masoni 2) „oportunisti“ kao najbrojnija grupacija mahom školovanih muzičara na nemačkom govornom području ili uvaženih muzičkih stručnjaka, 3) muzičari-stranci, 4) podobni muzičari i 5) neutralni muzičari koji su u ovom periodu pretežno ostali neaktivni. Neuspeh nacističke biopolitike u sferi muzike evidentan je kroz dominaciju muzičara „oportunista“ i nepostojanje ideala „nacističke arijevske muzike“ niti jasnih kriterijuma „podobnosti“. Naposletku, glavna premisa na kojoj je zasnovana ova disertacije jeste da ne postoje autonomno nemačka ili srpska istorija okupacije Beograda, te da su tako i pozicija muzičara i odnos prema muzičkim praksama nastajali u sadejstvu pomenutih. Sociološka segmentacija muzičara u ovoj disertaciji izvedena je tako kao primer na kome se mogu dalje uporedno sagledavati grupisanja u društvu Trećeg rajha i drugih metropola pod nacistima, a ne samo okupiranog Beograda.The subject of this doctoral dissertation is the status of musicians in Belgrade during the German occupation in World War II. The theoretical framework of the research is based on Michel Foucault's historical relational biopolitics, which has proven to be suitable to assess the status of musicians in a particular crisis of "social state" and based on the example of actual practices and knowledge. The dissertation applies biopolitical strategies at two operational levels, which, like Foucault's disciplinary (micro) and regulatory mechanisms (macro), are pervasive. Firstly, biopolitics is applied to the analysis of concrete knowledge and practices which are the basis for a hypothetical framework for the future regulation of society. In this regard, we argue that biological and racial criteria are dominant in the organization of all aspects of the society in occupied Belgrade. Therefore we followed two interpretations of biopolitics German and Serbian. Their encounters or differences, and their influence on the profession of musicians during the occupation period, as well as possible hypothetical ideas of the role of musicians in the future society, were viewed as a part of the general population's biopolitics. At the same time, we analyzed seemingly thin boundaries between the Nazi biopolitics in the homeland and in occupied Belgrade as well as those between the Serbian biopolitics and the exemplary Nazi biopolitics. In this regard, we argue that, against Nazi biopolitics based on doctrinal racial theory, a clear hierarchy of nations and cultures in the future New Europe, the Serbian version of biopolitical regulation of society was focused on preserving the collective entity represented through the concepts of "rural dystopias", framed by ideas of cooperative caste-like society system, restoration of the Middle Ages, the Saint Sava cult, ruralization and patriarchy. Although Serbian biopolitics was inferior to Nazi, viewed as different biopolitical programs, we conclude that both biopolitical versions showed insufficiently refined regulation, and dominance of disciplinary measures that led to the self-destruction of both ideals, of Aryan and of Serbian collective entities. Secondly,, we analyzed actual encounters of disciplinary practices and knowledge in occupied Belgrade, by certain power centres and interests, and influence of these encounters on the position of musicians employed at four major institutions: the Serbian National Theater, the Kolarac Foundation with the Kolarac National University, the State Music Academy with Secondary Music School and Soldier’s Radio Belgrade (Soldatensender Belgrad). By applying biopolitical perspective, we conclude that the excommunicated and the ineligible musicians constituted an equal half, the Other without whom it was impossible to define "what is disciplined and what is it that remains." In addition to the analytical goal of this dissertation, which is to determine boundaries between different versions of biopolitics Nazi and Serbian, and their related visions of future societies which influenced the status of musicians, this dissertation also pursued an interpretative-theoretical goal: pointing out adequate social classification of musicians that would fulfill sociological criteria and would be applicable to the analysis of the position of musicians in the occupied metropolies during WWII. In this regard, interpretative-theoretical approach resulted in classification of musicians in occupied Belgrade into five basic groups: 1) ineligible musicians such as Jews, Communists, Roma, and to some extent Freemasons 2) “opportunists” as the largest group of educated musicians in German-speaking areas or prominent music professionals, 3) foreign musicians, 4) eligible musicians, and 5) neutral musicians who remained largely inactive during this period. The failure of Nazi biopolitics in the sphere of music is evident through the dominance of "opportunist" musicians and abscence of ideals of "Nazi Aryan music" as well as of a clear criteria of "eligibility". Finally, the main premise on which this dissertation is based is that there is no autonomously German or Serbian history of occupation of Belgrade, and that both the position of musicians and the attitude towards musical practices were created in line with coinciding of the aforementioned. The sociological segmentation of the musicians in this dissertation is presented as an example how clusters in the society of the Third Reich and other metropoles under the Nazis, not only in occupied Belgrade, can be further compared

The concept of 'musical degeneration': From fin-de-siècle pessimism to the nationalsocialist rule

U radu se prati diskurzivni put jednog od dominantnih, a opet zaboravljenih pojmova u istoriji ideja - to je pojam 'degeneracije'. Bogatstvo primene i različitih osvetljavanja datog pojma, a opet njegovo diskurzivno raspršivanje i zamagljivanje sagledava se od sredine XIX do prvih decenija XX veka. Pojam koji je bio gotovo nezaobilazan u studijama mislilaca najrazličitijih profila od sredine XIX veka, uspešno je uključen iz medicinske terminologije Francuske, Italije, Velike Britanije u diskurs o umetnosti modernih evropskih društava. Fokusiranjem na oblast muzike, dati koncept je postao trajno vezan za mišljenje o relacijama muzike i društva na nemačkom govornom području. U složenom diskurzivnom razvoju datog pojma, autorka je nužno pravila izbore te je posebna pažnja posvećena austrougarskom psihologu Maksu Nordauu koji je preneo koncept 'degeneracije' iz medicine u sferu umetnosti (i muzike). Rasprava 'degeneracije muzike' vođena je hronološki, počev od Drugog rajha u kome je delovao jedan od najkontroverznijih kompozitora, Rihard Vagner) teoretičar 'degeneracije' i njenog prevazilaženja putem 'regeneracije', a opet smatran 'degenerisanim'. Na datom primeru razotkriva se složenost sa kojom se suočavamo kad proučavamo koncept 'degeneracije muzike'. Sagledavanje se zaokružuje osvrtom na život 'degenerisanih' muzičara/muzike u vreme Vajmarske republike, odnosno, njihovog tumačenja u Trećem rajhu.The paper follows the discursive path of one of the dominant, and yet forgotten, terms in the history of ideas - that of 'degeneration.' The richness of uses and various illuminations of the term, as well as its discursive dispersion and blurring, can be seen from the mid 19th until the first decades of the 20th century. The term was almost inescapable in studies of thinkers from various fields starting in the middle of the 19th century, it was successfully adopted from French, Italian and British medical terminology into the art discourse of modern European societies. By focusing on music, the given term became permanently tied to thinking about relations of music and society in the German-speaking world. In a complex discursive development of the term, the author necessarily made certain choices, paying special attention to the Austro-Hungarian psychologists, Max Nordau who carried the concept of 'degeneration' from the medical to the art (and music) sphere. The debate regarding the 'degeneration of music,' was developed chronologically, starting from the Second Reich (being the time in which one of the most controversial composers lived, Richard Wagner). While Wagner developed a theory of 'degeneration' and its overcoming through 'regeneration,' he was still considered 'degenerated.' The given example reveals the complexity of the problem we face when we study the concept of 'degeneration of music.' The consideration is completed with a glance at the life of 'degenerated' musicians and music during the Weimar Republic, that is, their interpretation in the Third Reich

Popular music as an anticipation, 'framing' and construction of generational memory of the 1968 students' protest in Yugoslavia

Analizirajući muziku u kontekstu jednog političkog događaja, studentskih protesta 1968. autorka teksta spaja sociologiju muzike sa sociologijom društvenih pokreta američkih sociologa Rona Ejermana (Ron Eyerman) i Endrjua Džejmisona (Andrew Jamison) - na tragu ovih jejlskih sociologa, autorka insistira na kulturnoj osnovi društvenih pokreta, a predlaže i dalja istraživanja sociologije generacija. U tekstu se, nasuprot često jednostranoj ili negativnoj evaluaciji uticaja protesta iz 1968. na dalji razvoj jugoslovenskog društva, otvara diskusija o uticaju te prelomne godine na istoriju rokenrola i stil života studenata u Jugoslaviji. Autorka zastupa mišljenje da su za samoopis aktera 60-ih presudne bile institucije zabave u Jugoslaviji, posebno rokenrol, zabavna i džez muzika, te folklorna amaterska društva, a ne isključivo njihovo političko opredeljenje. Muzika je anticipirala i pratila proteste 1968, a kasnije doprinela sećanju na njih. Izdvajanje muzike u kontekstu proučavanja datih događaja proizašlo je iz analize obimne građe/svedočenja aktera, koja je pokazala da je muzika jedini konstantni parametar u procesu konstrukcije sećanja na šezdesete godine u SFRJ i konkretno 1968. Razmatranje muzike u kontekstu društvenih pokreta sprovodi se u cilju analize višeznačnosti muzike za određene društvene grupe, a muzika se prati u vaninstitucionalnom delanju. Budući da naučne literature koja se integralno bavi stilom života tadašnje omladine, a posebno one koja se odnosi na muzičke preferencije omladine, nema, za ovaj rad smo koristili različite sekundarne izvore.By focusing on the role of music within a certain political event - in this case, the students' protests in Yugoslavia in June 1968 - I connect the sociology of music with the sociology of social movements as defined by American writers Ron Eyerman and Andrew Jamison. Moreover, I suggest further research based on the sociology of generations. I insist on the cultural basis of social movements, as argued by these Yale-educated sociologists. Contrary to the typically onesided or negative evaluation on the consequences of the 1968 protests on the further development of Yugoslav society, I discuss the importance of this crucial year on the history of Yugoslav rock music and the students' lifestyle. I argue that the entertainment institutions in Yugoslavia, including rock'n'roll, pop and jazz music, as well as the amateur folklore societies, were crucial for the selfidentification of the protagonists of the 1960s student protests, and not only the students' political choices. Music anticipated and accompanied the 1968 protests, and later helped in constructing the memories on these protests. Music is singled out as the object of study based on the analysis of a vast body of archival material and the participants' testimonies, in which the music could be observed as the only constant parameter in the process of constructing collective memory to the 1960s in Yugoslavia and the 1968 events. I discuss music in the context of social movements for the sake of analyzing the multiplicity of music's meanings for various social groups. Music is seen outside of institutional frameworks. Bearing in mind the lack of literature that deals comprehensively with the lifestyle of the youth at that time, including their musical preferences, I used various secondary sources

Energy savings for residential heating in two pairs of buildings achieved by implementation of actually consumed energy measuring

The paper presents results of heating energy consumption measurements in two pairs of buildings in community New Belgrade for two heating seasons. Influence of these measurements on energy savings is also presented. The measurements were carried out during heating seasons 2002/03 and 2003/04 in buildings in Block 34 and 63, connected to the district heating system "Beogradske elektrane". The buildings in each pair have similar architectural and thermal characteristics. One of the buildings in a pair was "test" building and the other "control" one. In the "test" building the energy consumption for heating of each apartment was measured, as well as total energy consumption for the whole building in the substation. Occupants were able to regulate the heating system. In the "control" building the energy consumption was measured only for the whole building, and occupants had almost no impact on heating energy consumption. The comparison of energy consumption for heating in the "test" and "control" buildings is given in the paper, as well as analysis of the influence of energy consumption measurements on the achieved energy savings

Energy savings for residential heating in two pairs of buildings achieved by implementation of actually consumed energy measuring

The paper presents results of heating energy consumption measurements in two pairs of buildings in community New Belgrade for two heating seasons. Influence of these measurements on energy savings is also presented. The measurements were carried out during heating seasons 2002/03 and 2003/04 in buildings in Block 34 and 63, connected to the district heating system "Beogradske elektrane". The buildings in each pair have similar architectural and thermal characteristics. One of the buildings in a pair was "test" building and the other "control" one. In the "test" building the energy consumption for heating of each apartment was measured, as well as total energy consumption for the whole building in the substation. Occupants were able to regulate the heating system. In the "control" building the energy consumption was measured only for the whole building, and occupants had almost no impact on heating energy consumption. The comparison of energy consumption for heating in the "test" and "control" buildings is given in the paper, as well as analysis of the influence of energy consumption measurements on the achieved energy savings

BETWEEN COURTLY, CIVIL AND MILITARY SERVICE: MILITARY MUSICIANS IN THE PRINCIPALITY AND KINGDOM OF SERBIA

The Principality and later Kingdom of Serbia with its less pronounced class differences, with a thin layer of urban population and the dominance of rural population, was the perfect target for the military musicians that were coming from the Habsburg Empire. “Foreigners” as military musicians would progress into higher strata. Czech musicians were the most important and most numerous among the newcomers in Serbia and the role of Josif Schlesinger as the first important musician is essential for understanding their importance and influence. The educational and modernization process could be followed by the growth in the number of professional military musicians

The Construction of Jewish Identity in Nineteenth-Century Serbia: The Case of the Musician Josif Schlesinger

This article explores the status of Josif Schlesinger (1794–1870), the first Serbian composer and professional musician in the court of Prince Miloš Obrenović (1780–1860), in the complex process of constructing Jewish identity in the web of Jewish legislation at the crossroads of the Ottoman and Habsburg Empires. Schlesinger was singled out as one of the most prominent Jews in the Principality of Serbia. His status was far more favorable than that of Jews of other professions, especially merchants. The attitude of the Serbian government towards Jews during most of the nineteenth century can be divided into two periods. During the first period, until the early 1840s, Jews were free to work, travel, and settle, while during the second period, which lasted until the Serbians achieved independence in 1878, Serbia had anti-Semitic laws that suppressed Jewish rights to work, travel, and settle. The anti-Jewish laws were so strict that the Alliance Israélite Universelle had to write to the major European forces during the talks leading to the Treaty of Berlin to inform them of the situation in Serbia; the anti-Semitic laws were abolished almost a decade later. The change of policy towards Jews in the 1840s was due to the economic interests of a part of the Serbian merchant elite, which was also very involved in trade and commerce. In the long period after the introduction of the first anti-Semitic laws, the majority of the Serbian government became very hostile towards the Jews. Jewish merchants were not supposed to work and live outside of their neighborhood in Belgrade. According to Schlesinger himself, Jewish musicians enjoyed a different social status as members of a rare profession. In this article, the authors also focus on the problem of music migration from northern parts of the Habsburg Empire both to its south and to the newly (in 1867) established independent Principality of Serbia. The authors’ approach is based not only on an intersection of military and political history but also on a sociological perspective on migration and the issues of minorities which deepens the musicological approach to the issue of “Jewishness” and music.Musicologica Austriaca: Journal for Austrian Music Studies: (Special issue "Exploring Music Life in the Late Habsburg Monarchy and Successor States," ed. Tatjana Marković and Fritz Trümpi)

Protokol reanimacije pasa i mačaka

Kardiopulmonalni zastoj se može definisati kao potpuni izosta- nak cirkulacije, disanja i svesti. Uspešna reanimacija pacijenta zahte- va dobro obučen i opremljen tim, koji će u kritičnom trenutku razmiš- ljati i raditi kao jedno. Poštovanje protokola i pravila ponašanja dopri- neće da se uspostave spontana cirkulacija i disanje, ali i da se napra- vi razlika između života i smrti. Reanimacija pasa i mačaka se može podeliti na primarni i sekundarni pregled. Primarni pregled pacijenta je prvi korak u stabilizaciji urgentnih pacijenata i podrazumeva usmera- vanje pažnje na najugroženije organske sisteme. Sekundarni pregled se najčešće izvodi uz pomoć engleskog akronima „A CRASH PLAN“ i usmeren je na sve potencijalno ugrožene preostale sisteme. Proto- kol reanimacije pasa i mačaka je najlakše zapamtiti po početnim slo- vima abecede (ABCDE). Pojam ABCDE protokol primarno je preuzet iz reanimatologije, grane anesteziologije, koja se bavi reanimacijom odnosno oživljavanjem pacijenta. Značenje navedenih abecednih slo- va se odnosi na: A-Airway-Vazdušni put, B-Breathing-Disanje, C-Cir- culation-Cirkulacija, D-Drug-Lekovi, E-ECG-EKG, F-Electrical defibri- llation-Električna defibrilacija. Uz saglasnost vlasnika, tako započinje proces reanimacije prema tačno utvrđenom protokolu. U timu je jasno definisan lider, postoji hijerarhija i određena je uloga svakog člana. Nakon uspešno obavljene reanimacije, pacijent mora biti upućen na intenzivnu negu i biti pod stalnim i kompletnim monitoringom. Najkri- tičnija su naredna 24 časa od reanimacije