Maja Vasiljevic
Maja Vasiljevic (1980), PhD sociologist and MA musicologist, Research Associate. Working at the Faculty of Philosophy in University of Belgrade, Department of History from 2011. As of 2003, active Music Critic and Broadcaster at the Radio Belgrade 2 and Expert consultant for history issues at the Department of Culture and Education Programme on National Radio Television of Serbia. She published papers on different topics: film music, SFRY, Cold War, Jewish community from Ottoman Empire to Holocaust, racism, gender and minority politics in occupied Belgrade in WWII, social movements, the Great War. Her PhD in sociology (2020) is focused on music and musicians in Belgrade during the WWII and relations between practices of music and discourse on biopolitics of Michel Foucault and studies of holocaust. From 2012 she is a secretary of scientific journal "Limes plus" for Social Sciences and Humanities, and from 2015 of journal "Acta historiae medicinae, stomatologiae, pharamaciae, veterinae". She is an active member and researcher in numerous institutions: New Balkans Institute (NBI), Centre for Popular Music Research and Scientific Society for History of Health Culture Belgrade. Her first book "Filmska muzika u SFRJ: Između politike i poetike" (Film music in SFRY: Between Politics and poetics) was published in 2016. Recently, she is also interested in writing of film scripts, and documentaries.
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Следећу тематску област представља осврт на иновације које је српској уметничкој музици донео Радио Београд, посебно на плану електронске музике и радиофоније. Владан Радовановић пише о Електронском студију Радио Београда, чији је био оснивач и дугогодишњи руководилац; Марија Ћирић доноси пресек развоја и стваралачких домета српске радиофонске уметности, док се Ана Котевска надовезује на њено излагање, али се фокусира на радиофонску поетику једне истакнуте уметнице, Иване Стефановић.
У делу књиге који се бави програмским концепцијама, Снежана Николајевић пише о садејству музике и текста у музичким емисијама Радио Београда. Два рада посвећена су различитим сегментима делатности Трећег програма Радио Београда: Ивана Медић разматра циклус концерата Музичка модерна, који је током две деценије српској јавности представљао најзначајније тенденције савремене уметничке музике у свету, док се Ирина Максимовић и Растко Јаковљевић осврћу на, у много чему пионирску, делатност етномузиколога Драгослава Девића, који је уређивао циклус емисија посвећен музици са различитих меридијана. С друге стране, Весна Ивков анализира на који начин су редакције програма народне музике на Радио Новом Саду, током више деценија, одговарале на културне потребе слушалаца у мултикултуралној средини каква је Војводина.
Најопсежнији сегмент књиге посвећен је анализи делатности различитих ансамбала Радио-телевизије Србије. Ову тематску област отвара есејистички рад Слободана Пајића (Slobodan Dan Paich), позоришног редитеља који је највећи део живота провео у иностранству. Као један од малобројних данас живих чланова прве поставе Дечјег хора Радио Београда, Пајић евоцира успомене из тог доба, анализира методе примењиване у раду са децом, али се и наслања на скорашња истраживања из области когнитивне психологије, те указује на који начин данас, у свом професионалном раду, примењује искуства која је стекао још као дечак. Јелена Јанковић-Бегуш је, на основу обимне архивске грађе, истражила допринос ансамбала Музичке продукције Радио-телевизије Србије фестивалу БЕМУС, од његовог оснивања до данас. Марија Маглов даје исцрпан преглед активности Радио Београда и, посебно, дискографске куће ПГП РТС на промоцији озбиљне, односно, уметничке музике. Најзад, Срђан Тепарић се бави делатношћу Хора РТС од почетка новог миленијума, која се одвија у веома неповољним финансијским и организационим околностима, те покушава да сагледа начине за излазак овог ансамбла из вишегодишње кризе.
Завршна разматрања посвећена су улози радија у XXI веку. Ивана Ерцеговац, на основу података сакупљених путем квантитативног истраживања, сагледава радио као интегрисани део интернета и заступа оптимистичан став да ће радио „преживети” најновију технолошку револуцију. С друге стране, Марија Каран се бави профилисањем радијског аудиторијума у данашње време, са посебним освртом на различите начине форматирања радијских емисија, али и на функцију музичког уредника која, упркос компјутеризацији, није изгубила на значају.
Papers by Maja Vasiljevic
Political populism from the fringe to the mainstream: A conceptual framework.
Authors:
Milivoj Bešlin, Haris Dajč, Piret Ehin, Sean Hanley, Nataša Jovanović Ajzenhamer, Jan Kubik, Andrey Makarychev, Richard Mole, Nikola Pantelić, Mladen Radulović, Natasza Styczyńska, Liisa Talving, Maja Vasiljević
POPREBEL Working Paper series editors: Jan Kubik and Richard Mole
Следећу тематску област представља осврт на иновације које је српској уметничкој музици донео Радио Београд, посебно на плану електронске музике и радиофоније. Владан Радовановић пише о Електронском студију Радио Београда, чији је био оснивач и дугогодишњи руководилац; Марија Ћирић доноси пресек развоја и стваралачких домета српске радиофонске уметности, док се Ана Котевска надовезује на њено излагање, али се фокусира на радиофонску поетику једне истакнуте уметнице, Иване Стефановић.
У делу књиге који се бави програмским концепцијама, Снежана Николајевић пише о садејству музике и текста у музичким емисијама Радио Београда. Два рада посвећена су различитим сегментима делатности Трећег програма Радио Београда: Ивана Медић разматра циклус концерата Музичка модерна, који је током две деценије српској јавности представљао најзначајније тенденције савремене уметничке музике у свету, док се Ирина Максимовић и Растко Јаковљевић осврћу на, у много чему пионирску, делатност етномузиколога Драгослава Девића, који је уређивао циклус емисија посвећен музици са различитих меридијана. С друге стране, Весна Ивков анализира на који начин су редакције програма народне музике на Радио Новом Саду, током више деценија, одговарале на културне потребе слушалаца у мултикултуралној средини каква је Војводина.
Најопсежнији сегмент књиге посвећен је анализи делатности различитих ансамбала Радио-телевизије Србије. Ову тематску област отвара есејистички рад Слободана Пајића (Slobodan Dan Paich), позоришног редитеља који је највећи део живота провео у иностранству. Као један од малобројних данас живих чланова прве поставе Дечјег хора Радио Београда, Пајић евоцира успомене из тог доба, анализира методе примењиване у раду са децом, али се и наслања на скорашња истраживања из области когнитивне психологије, те указује на који начин данас, у свом професионалном раду, примењује искуства која је стекао још као дечак. Јелена Јанковић-Бегуш је, на основу обимне архивске грађе, истражила допринос ансамбала Музичке продукције Радио-телевизије Србије фестивалу БЕМУС, од његовог оснивања до данас. Марија Маглов даје исцрпан преглед активности Радио Београда и, посебно, дискографске куће ПГП РТС на промоцији озбиљне, односно, уметничке музике. Најзад, Срђан Тепарић се бави делатношћу Хора РТС од почетка новог миленијума, која се одвија у веома неповољним финансијским и организационим околностима, те покушава да сагледа начине за излазак овог ансамбла из вишегодишње кризе.
Завршна разматрања посвећена су улози радија у XXI веку. Ивана Ерцеговац, на основу података сакупљених путем квантитативног истраживања, сагледава радио као интегрисани део интернета и заступа оптимистичан став да ће радио „преживети” најновију технолошку револуцију. С друге стране, Марија Каран се бави профилисањем радијског аудиторијума у данашње време, са посебним освртом на различите начине форматирања радијских емисија, али и на функцију музичког уредника која, упркос компјутеризацији, није изгубила на значају.
Political populism from the fringe to the mainstream: A conceptual framework.
Authors:
Milivoj Bešlin, Haris Dajč, Piret Ehin, Sean Hanley, Nataša Jovanović Ajzenhamer, Jan Kubik, Andrey Makarychev, Richard Mole, Nikola Pantelić, Mladen Radulović, Natasza Styczyńska, Liisa Talving, Maja Vasiljević
POPREBEL Working Paper series editors: Jan Kubik and Richard Mole
MUSICIANS IN BELGRADE 1941−1944
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 metropolises 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.
Keywords: musicians, Belgrade, WWII, Michel Foucault, disciplinary mechanism, regulatory mechanism, biopolitics, Jews, Roma people, opportunists
The first issue of the journal was published in 1961 and for three decades it was one of the most modern, open and dynamic Yugoslavian journals. Since June 2016 the journal is included in ERIH PLUS.
Editor in chief is prof. dr Nikola Samardžić
http://actahistorica.com/xxxv2016/
Historical, Legal and Political Issues Restitution is not just a return to a previous state. We cannot revive the past, and that is not really a point. Restitution is a new opportunity for our future, for everybody with the exception of corrupt pockets of society and state. Memory and attention are priority in the process, in relation to the pure material satisfaction of the damaged or descendants. Broadly socially based capitalism and transparent ownership structure should be the stronghold of our democratic future, the path that respects the wrongdoing victims in the past, assuming the wartime aggression and the Holocaust. I also suppose that descendants of the victims are not responsible for the actions of their ancestors. A very unique burden for Serbia and Yugoslavia is the Donauschwaben destiny. Such controversies may be oversimplified only with a presumption that a new totalitarian order performed the liberation from Nazism and Fascism,
with complex and long-term consequences related to the whole of the
Eastern Europe, which Yugoslavia was a special and particularly complicated case. Confiscation and nationalization have drastically altered the structure of ownership and general legal framework. Conflict with the previous political system involved a conflict with the wealthier urban and rural social circles. Already during the last months of enduring war a new ruling class has emerged entering into other’s villas, houses, flats, beds and slippers. New ruling class gradually assumed both social function and lifestyle of those defeated. Moreover, eventually was established a tacit consensus of winners and losers, as Yugoslavia was approaching Western influences and opening the borders, faced with the disastrous results of post-war transition and economic policy. From the late sixties intellectuals were increasingly challenging Tito’s regime
and value system, but only from the extreme left or nationalist platforms. Already during the seventies was permanently prevented eventual general Yugoslav consensus on democracy, the rule of law and transition to the capitalism. Confiscation and nationalization were significantly impeding modernization process, devastation of villages and ruralisation of the cities. Yugoslav and Serbian society was deprived of the dynamics, ethics, and driving force of capitalism. Gradual destruction of the private property culture, and state promoted, populist self-management kept the economic activity at the margins of profitability and market logic. Traditional urban classes were pauperized and intimidated.Post-war Sovietization and nationalism have transformed Serbia into failed state and futile economy. Despite all its controversies, restitution can be considered as an important reform process with deep and painful historical and ethical background: socialist revolution and Sovietization, the Holocaust and its relapse in nationalization and official hostility to Israel, on the other side of history the fate of the „Donauschwaben”, and, generally, crushing the backbones of modernization and democratization in both urban and rural development. Th at is why we decided to establish this permanent conference as the restitution process deserves the public and scientific attention and open, brave and transparent debate. I suppose that the priorities should be the ethic aspects of restitution, including the moral dilemmas, and all the benefits of our future economic, political and cultural development. Mutual rapprochement between the peoples originating from our former homeland should be implied. I am deeply convinced that the restitution should lead to a new moral consensus
that will be referred to all aspects and consequences of the Holocaust.
Negation of the idea of restitution, regardless of to whom it concerns, meaning individual nationality or national group, is implicit denial of the Holocaust, as post-war confiscation and nationalization concealed elements of deliberate and organized terror. But we need to discuss the collective reprisals against Donauschwaben. We need to recognize our own, Serbian victims. And we should be even more practical. Th ere is no democracy without the rule of law. And there is no capitalism without legally protected private property. There is no capitalism outside democratic world. Perhaps democracy is the best of all poor political systems. Maybe capitalism is the price we pay to human nature, driven predominantly by market constraints, and just exceptionally by entrepreneurial spirit and work ethic.
The journal Acta Historiae is a double-blind peer reviewed academic periodical. It publishes original scientific articles, review articles, short scientific articles, reviews and bibliographies from fields of history of medicine, medical deontology, history of mentality, private life, urban and rural everyday life and living conditions, structure of urban and rural settlements, history, demography, boundaries, as well as the history of architecture and urban planning in the context of history, culture and health care institutions.
The first issue of the journal was published in 1961 and for three decades it was one of the most modern, open and dynamic Yugoslavian journals.
7 Nikola SAMARDŽIĆ: SEVERAL IDEAS ON HOLOCAUST
AND RESTITUTION IN HISTORICAL OVERVIEW:
Serbian Ethical and Property Dilemma and the Legacy
of Anti-Semitism
21 Dragan ALEKSIĆ: Th e Sale of Confi scated Jewish Immovable
Property in Serbia During World War II for Financing War
Damages to Germans
39 Adam J. SACKS: Wiedergutmachung and its Discontents
Part II – The Political Roles in the Restitution
51 Vesna ALEKSIĆ: THE POLITICAL ROLE OF FINANCIAL
INSTITUTION: Bankverein AG and Aryanization of Jewish
property in Serbia
65 Ljiljana DOBROVŠAK: Restitution of Jewish Property in
Croatia
89 Wesley A. FISHER: Further Observations on the Restitution
of Art, Judaica, and Other Cultural Property Plundered in
Serbia
Part III – THE LEGAL ASPECTS: Rehabilitation and Restitution
101 Kristen NELSON and Rajika L. SHAH: AN IMMOVABLE
PROPERTY RESTITUTION LEGISLATION DATABASE:
ESLI’s Initiative to Bring Present and Future Meaning to the
Terezin Declaration Commitments
113 Radovan LAZIĆ: An Overview of the Law on Rehabilitation
From the Point of View of Holocaust Victims and Other
Victims of Nazi Terror
123 Jovan KRSTIĆ: Restitution as Th e Legal Vacuum in the System
of Law
141 Goran ILIĆ: Th e Military Judiciary in Post-War Years
Over the two days 24 papers were presented both on-site and online via Zoom (three presenters were, unfortunately, unable to join us) divided into seven thematic panels. There was a nice mixture of both established and emerging scholars from the field coming from a number of countries. Professor António Costa Pinto from the Institute of Social Sciences, University of Lisbon, delivered a keynote lecture “Building Dictatorships in the Era of Fascism. A Global View” on the second day of the conference.
The organizers, Dragan Bakić, Dušan Fundić and Rastko Lompar from the Institute for Balkan Studies SASA, would like to extend their thanks to all the participants. It is their intention to publish an edited volume consisting of the conference proceedings which will, hopefully, be out in print next year.