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From Emulation to a Great Masterpiece. Two Serbian Composers of the 1950s

Bralović, Miloš

(Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts, 2021-11)

TY  - CHAP
AU  - Bralović, Miloš
PY  - 2021-11
UR  - https://dais.sanu.ac.rs/123456789/12004
AB  - The basic idea of this paper is to demonstrate the different ways in which a composer may use the techniques of simulation or stylistic allusion, not to resemble a certain composer or style, but to perfect their own compositional techniques and develop individual style. With this in mind, two orchestral pieces from Serbian music history have been analysed, both written in the 1950s: Suita giocosa (1956) by Milan Ristić (1908–1982) and Passacaglia for orchestra (1957) by Ljubica Marić (1909–2003). Through the analysis of these pieces, I explore the similarities between their compositional techniques with those of the great European masters. In the case of Milan Ristić, the techniques of Paul Hindemith (1895–1963), presented in the textbook Unterweisung im Tonsatz, are the base which Ristić used to perfect his own musical language. In Passacaglia by Ljubica Marić one may notice strong influences of development variation, as explained by Arnold Schoenberg (1874–1951) on Johannes Brahms’ (1833–1897) chamber music titled “Brahms the progressive”. In conclusion, the processes in these orchestral pieces represent simulation or stylistic allusion produced through emulation, bearing in mind that the level of borrowing exists exclusively within the compositional technique and that role models of Ristić and Marić, as techniques of ‘selected’ composers, remain hidden in their works.
AB  - Основна идеја аутора јесте да прикаже различите начине на које композитор
може да користи технике симулације, односно стилске алузије, али не
због тога да би наликовао на одређеног композитора или стил, већ да би
усавршио сопствено композиционо-техничко умеће и развио индивидуални
стил. Имајући то у виду, анализирали смо две оркестарске композиције из
историје српске музике, написане током педесетих година прошлог века:
Suita giocosa (1956) Милана Ристића (1908–1982) и Пасакаљу за оркестар
(1957) Љубице Марић (1909–2003). Кроз анализу ових дела, покушали смо да
уочимо сродности композиционих техника ових композитора са техникама
великих европских композитора. У случају Милана Ристића, технике Паула
Хиндемита (Paul Hindemith, 1895–1963), представљене у уџбенику Техника
тонског слога (Unterweisung im Tonsatz) представљају основу коју је Ристић
користио у усавршавању сопственог музичког језика. У Пасакаљи Љубице
Марић, уочљиви су јаки трагови развојног варирања, на начин на који их
је објаснио Арнолд Шенберг (Arnold Schoenberg, 1874–1951) у свом есеју о
Брамсовој камерној музици (Johannes Brahms, 1833–1897) под називом „Брамс
напредњак“ („Brahms the Progressive“). Коначно, закључујемо да процеси
у поменутим делима представљају симулацију, односно стилску алузију,
произведену кроз емулацију, имајући у виду да се ниво преузимања одвија
на нивоу композиционе технике и да узори Ристића и Марићеве, у виду
‘одабраних’ композитора, остају у великој мери прикривени у њиховим делима.
PB  - Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts
T2  - Shaping the Present by the Future. Musicology, Ethnomusicology and Contemporaneity
T1  - From Emulation to a Great Masterpiece. Two Serbian Composers of the 1950s
T1  - Од опонашања до ремек-дела. Двоје српских композитора педесетих година XX века
SP  - 187
EP  - 205
UR  - https://hdl.handle.net/21.15107/rcub_dais_12004
ER  - 
@inbook{
author = "Bralović, Miloš",
year = "2021-11",
abstract = "The basic idea of this paper is to demonstrate the different ways in which a composer may use the techniques of simulation or stylistic allusion, not to resemble a certain composer or style, but to perfect their own compositional techniques and develop individual style. With this in mind, two orchestral pieces from Serbian music history have been analysed, both written in the 1950s: Suita giocosa (1956) by Milan Ristić (1908–1982) and Passacaglia for orchestra (1957) by Ljubica Marić (1909–2003). Through the analysis of these pieces, I explore the similarities between their compositional techniques with those of the great European masters. In the case of Milan Ristić, the techniques of Paul Hindemith (1895–1963), presented in the textbook Unterweisung im Tonsatz, are the base which Ristić used to perfect his own musical language. In Passacaglia by Ljubica Marić one may notice strong influences of development variation, as explained by Arnold Schoenberg (1874–1951) on Johannes Brahms’ (1833–1897) chamber music titled “Brahms the progressive”. In conclusion, the processes in these orchestral pieces represent simulation or stylistic allusion produced through emulation, bearing in mind that the level of borrowing exists exclusively within the compositional technique and that role models of Ristić and Marić, as techniques of ‘selected’ composers, remain hidden in their works., Основна идеја аутора јесте да прикаже различите начине на које композитор
може да користи технике симулације, односно стилске алузије, али не
због тога да би наликовао на одређеног композитора или стил, већ да би
усавршио сопствено композиционо-техничко умеће и развио индивидуални
стил. Имајући то у виду, анализирали смо две оркестарске композиције из
историје српске музике, написане током педесетих година прошлог века:
Suita giocosa (1956) Милана Ристића (1908–1982) и Пасакаљу за оркестар
(1957) Љубице Марић (1909–2003). Кроз анализу ових дела, покушали смо да
уочимо сродности композиционих техника ових композитора са техникама
великих европских композитора. У случају Милана Ристића, технике Паула
Хиндемита (Paul Hindemith, 1895–1963), представљене у уџбенику Техника
тонског слога (Unterweisung im Tonsatz) представљају основу коју је Ристић
користио у усавршавању сопственог музичког језика. У Пасакаљи Љубице
Марић, уочљиви су јаки трагови развојног варирања, на начин на који их
је објаснио Арнолд Шенберг (Arnold Schoenberg, 1874–1951) у свом есеју о
Брамсовој камерној музици (Johannes Brahms, 1833–1897) под називом „Брамс
напредњак“ („Brahms the Progressive“). Коначно, закључујемо да процеси
у поменутим делима представљају симулацију, односно стилску алузију,
произведену кроз емулацију, имајући у виду да се ниво преузимања одвија
на нивоу композиционе технике и да узори Ристића и Марићеве, у виду
‘одабраних’ композитора, остају у великој мери прикривени у њиховим делима.",
publisher = "Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts",
journal = "Shaping the Present by the Future. Musicology, Ethnomusicology and Contemporaneity",
booktitle = "From Emulation to a Great Masterpiece. Two Serbian Composers of the 1950s, Од опонашања до ремек-дела. Двоје српских композитора педесетих година XX века",
pages = "187-205",
url = "https://hdl.handle.net/21.15107/rcub_dais_12004"
}
Bralović, M.. (2021-11). From Emulation to a Great Masterpiece. Two Serbian Composers of the 1950s. in Shaping the Present by the Future. Musicology, Ethnomusicology and Contemporaneity
Belgrade : Institute of Musicology, Serbian Academy of Sciences and Arts., 187-205.
https://hdl.handle.net/21.15107/rcub_dais_12004
Bralović M. From Emulation to a Great Masterpiece. Two Serbian Composers of the 1950s. in Shaping the Present by the Future. Musicology, Ethnomusicology and Contemporaneity. 2021;:187-205.
https://hdl.handle.net/21.15107/rcub_dais_12004 .
Bralović, Miloš, "From Emulation to a Great Masterpiece. Two Serbian Composers of the 1950s" in Shaping the Present by the Future. Musicology, Ethnomusicology and Contemporaneity (2021-11):187-205,
https://hdl.handle.net/21.15107/rcub_dais_12004 .

Experimental study of an implantable fiber-optic microphone on human cadavers

Đinović, Zoran; Pavelka, Robert; Tomić, Miloš; Sprinzl, Georg; Müller, Julia Gertrud; Traxler, Hannes

(Elsevier BV, 2021-10)

TY  - JOUR
AU  - Đinović, Zoran
AU  - Pavelka, Robert
AU  - Tomić, Miloš
AU  - Sprinzl, Georg
AU  - Müller, Julia Gertrud
AU  - Traxler, Hannes
PY  - 2021-10
UR  - https://dais.sanu.ac.rs/123456789/12143
AB  - In this paper, we present the results of an experimental study about a novel fiber optical vibrometer, aimed to be used as a totally implantable fiber-optic microphone for hearing aids. The sensor head, implanted inside the human cadaver middle ear, detects the amplitude of the incus vibrations, which are produced by an external acoustical source. The probe beam of coherent vertical cavity surface emitting laser (VCSEL) radiation is directed to the incus and the phase-modulated reflected beam is captured and demodulated. The problem of interferometric fading was solved using two quasi-quadrature signals, passively produced by the 3 × 3 single-mode fiber-optic coupler, processed by a special embedded algorithm. The implanted optoelectronic module works with very low-power consumption, performs real-time signal processing and outputs an analogue signal proportional to the incus vibration. The amplitude of the incus vibrations at different sound pressure levels (SPL) from 40 to 90 dB and at frequencies from 100 Hz to 10 kHz were measured by the implanted system. The system was evaluated on five cadaver skulls. The measured amplitudes were in the range of 1 pm to 5 nm, depending on the subjected skull and the applied sound pressure.
PB  - Elsevier BV
T2  - Hearing Research
T1  - Experimental study of an implantable fiber-optic microphone on human cadavers
SP  - 108351
VL  - 410
DO  - 10.1016/j.heares.2021.108351
UR  - https://hdl.handle.net/21.15107/rcub_dais_12143
ER  - 
@article{
author = "Đinović, Zoran and Pavelka, Robert and Tomić, Miloš and Sprinzl, Georg and Müller, Julia Gertrud and Traxler, Hannes",
year = "2021-10",
abstract = "In this paper, we present the results of an experimental study about a novel fiber optical vibrometer, aimed to be used as a totally implantable fiber-optic microphone for hearing aids. The sensor head, implanted inside the human cadaver middle ear, detects the amplitude of the incus vibrations, which are produced by an external acoustical source. The probe beam of coherent vertical cavity surface emitting laser (VCSEL) radiation is directed to the incus and the phase-modulated reflected beam is captured and demodulated. The problem of interferometric fading was solved using two quasi-quadrature signals, passively produced by the 3 × 3 single-mode fiber-optic coupler, processed by a special embedded algorithm. The implanted optoelectronic module works with very low-power consumption, performs real-time signal processing and outputs an analogue signal proportional to the incus vibration. The amplitude of the incus vibrations at different sound pressure levels (SPL) from 40 to 90 dB and at frequencies from 100 Hz to 10 kHz were measured by the implanted system. The system was evaluated on five cadaver skulls. The measured amplitudes were in the range of 1 pm to 5 nm, depending on the subjected skull and the applied sound pressure.",
publisher = "Elsevier BV",
journal = "Hearing Research",
title = "Experimental study of an implantable fiber-optic microphone on human cadavers",
pages = "108351",
volume = "410",
doi = "10.1016/j.heares.2021.108351",
url = "https://hdl.handle.net/21.15107/rcub_dais_12143"
}
Đinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G.,& Traxler, H.. (2021-10). Experimental study of an implantable fiber-optic microphone on human cadavers. in Hearing Research
Elsevier BV., 410, 108351.
https://doi.org/10.1016/j.heares.2021.108351
https://hdl.handle.net/21.15107/rcub_dais_12143
Đinović Z, Pavelka R, Tomić M, Sprinzl G, Müller JG, Traxler H. Experimental study of an implantable fiber-optic microphone on human cadavers. in Hearing Research. 2021;410:108351.
doi:10.1016/j.heares.2021.108351
https://hdl.handle.net/21.15107/rcub_dais_12143 .
Đinović, Zoran, Pavelka, Robert, Tomić, Miloš, Sprinzl, Georg, Müller, Julia Gertrud, Traxler, Hannes, "Experimental study of an implantable fiber-optic microphone on human cadavers" in Hearing Research, 410 (2021-10):108351,
https://doi.org/10.1016/j.heares.2021.108351 .,
https://hdl.handle.net/21.15107/rcub_dais_12143 .
1

Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies

Radovanović, Bojana

(Belgrade : Institute of Musicology SASA, 2021-10)

TY  - CHAP
AU  - Radovanović, Bojana
PY  - 2021-10
UR  - https://dais.sanu.ac.rs/handle/123456789/11974
UR  - https://dais.sanu.ac.rs/123456789/12001
AB  - It can be said that the academic scrutinization of metal music began with two substantial studies – Heavy Metal. The Music and its Culture (1991) by sociologist Deena Weinstein and Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) by musicologist Robert Walser. During the following couple of decades, academic and metal communities witnessed some sporadic – but essential – contributions to the field (Purcell’s Death Metal Music: The Passion and Politics of a Subculture (2003) and Kahn-Harris’s Extreme Metal: Music and Culture on the Edge (2007), to name a few).
A series of several events that occurred near the end of the first decade of the 21st century, and especially during the 2010s, are crucial in the institutionalization of metal music studies. The foundation of the International Society for Metal Music Studies (ISMMS) in 2013 is probably the most important one, mainly because it announced the emergence of the new scientific paradigm. Following the first global conference on metal held in Salzburg in 2008, starting from 2013 the ISMMS began organizing regular international and inter/multi-disciplinary conferences biannually. Finally, the foundation of ISMMS’ specialized scientific journal, Metal Music Studies (Intellect Press, 2015), signified the beginning of the so-called autonomy that metal scholars strived for. As Will Straw noticed in his keynote speech at the ISMMS conference in Nantes (2019), this autonomy was particularly important concerning popular music studies. Metal scholars, coming from various disciplines (sociology, musicology, aesthetics, cultural studies, history, psychology, etc.), created their “intellectual hub” and started building a unique resource for the field.
With musicology playing a vital role in the field, this paper aims to examine the musicological input to metal music studies, with special attention given to studies published after the foundation of the ISMMS and its journal. This overview will encompass reoccurring topics, contemporary methodologies, and the interdisciplinary liaisons established in the research process.
AB  - Имајући у виду да је интересовање за проучавање метал музике званично отпочело у англоамеричком контексту деведесетих година прошлог века појавом две студије утемељивачког карактера – Heavy Metal. The Music and its Culture (1991) социолошкиње Дине Вајнстин и Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) музиколога Роберта Волсера – циљ овог текста био је да се испита улога музикологије у области студија метал музике.
Показано је да је, током три деценије све разгранатијег научног дискурса о овом музичком феномену, упис музикологије био важан не само као први корак, већ и као константан и неизоставан део говора и написа о металу. Почевши од Волсерове студије, која је par excellance продукт ’свог доба’ и нове музикологије, музиколошки доприноси овом пољу били су резултат интердисциплинарне базе дисциплине, те су тако резултати тих истраживања обухватала историографску, формалистичку, музичко-теоријску, естетичку,
филозофску, етномузиколошку, етнографску раван. 
На институционализацију студија метал музике утицало је неколико догађаја који су се одвили крајем прве деценије 21. века, а нарочито током 2010-их. Због успостављања нове научне парадигме и платформе, пре свега треба поменути оснивање Међународног друштва за проучавање метал музике
(ISMMS) 2013. године, а потом и установљивање редовних међународних и интер/транс/мултидисциплинарних научних скупова широм света. Својеврсна аутономија ове области, нарочито у односу на студије популарне музике, заокружена је успостављањем научног часописа Metal Music Studies (Intellect Press, 2015). Тако је, у односу на претходни период, где је научно истраживање метал музике остајало у запећку шире слике и спорадично се пробијало у први план, успостављена платформа на којој ће се убрзо развити дисциплинарни односи.
Иако су неки од гласноговорника студија метал музике инсистирали на оснаживању музиколошког ’гласа’ пре свега ради компетентног говора о звуку, музичким структурама и хармонско-мелодијским аспектима метал музике, овај текст је увидом у кратку али садржајну историју музиколошких написа показао да се, услед основних интердисциплинарних поставки музикологије, допринос музиколога не може свести ’само’ на музичко-теоријски рад. Штавише, он предвиђа још богатију продукцију која долази из сфере музикологије, а која ће бити инспирисана и испровцирана новим технологијама, инструментима и извођаштвом, савременим друштвом и публиком, начинима стварања,
постпродукције и рецепције музике.
PB  - Belgrade : Institute of Musicology SASA
T2  - Shaping the Present through the Future: Musicology, Ethnomusicology and Contemporaneity
T1  - Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies
T1  - Раскринкавање „потенцијално монолитног погледа на музикологију“: улога музикологије у студијама метал музике
SP  - 97
EP  - 109
VL  - 109
UR  - https://hdl.handle.net/21.15107/rcub_dais_12001
ER  - 
@inbook{
author = "Radovanović, Bojana",
year = "2021-10",
abstract = "It can be said that the academic scrutinization of metal music began with two substantial studies – Heavy Metal. The Music and its Culture (1991) by sociologist Deena Weinstein and Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) by musicologist Robert Walser. During the following couple of decades, academic and metal communities witnessed some sporadic – but essential – contributions to the field (Purcell’s Death Metal Music: The Passion and Politics of a Subculture (2003) and Kahn-Harris’s Extreme Metal: Music and Culture on the Edge (2007), to name a few).
A series of several events that occurred near the end of the first decade of the 21st century, and especially during the 2010s, are crucial in the institutionalization of metal music studies. The foundation of the International Society for Metal Music Studies (ISMMS) in 2013 is probably the most important one, mainly because it announced the emergence of the new scientific paradigm. Following the first global conference on metal held in Salzburg in 2008, starting from 2013 the ISMMS began organizing regular international and inter/multi-disciplinary conferences biannually. Finally, the foundation of ISMMS’ specialized scientific journal, Metal Music Studies (Intellect Press, 2015), signified the beginning of the so-called autonomy that metal scholars strived for. As Will Straw noticed in his keynote speech at the ISMMS conference in Nantes (2019), this autonomy was particularly important concerning popular music studies. Metal scholars, coming from various disciplines (sociology, musicology, aesthetics, cultural studies, history, psychology, etc.), created their “intellectual hub” and started building a unique resource for the field.
With musicology playing a vital role in the field, this paper aims to examine the musicological input to metal music studies, with special attention given to studies published after the foundation of the ISMMS and its journal. This overview will encompass reoccurring topics, contemporary methodologies, and the interdisciplinary liaisons established in the research process., Имајући у виду да је интересовање за проучавање метал музике званично отпочело у англоамеричком контексту деведесетих година прошлог века појавом две студије утемељивачког карактера – Heavy Metal. The Music and its Culture (1991) социолошкиње Дине Вајнстин и Running with the Devil. Power, Gender, and Madness in Heavy Metal Music (1993) музиколога Роберта Волсера – циљ овог текста био је да се испита улога музикологије у области студија метал музике.
Показано је да је, током три деценије све разгранатијег научног дискурса о овом музичком феномену, упис музикологије био важан не само као први корак, већ и као константан и неизоставан део говора и написа о металу. Почевши од Волсерове студије, која је par excellance продукт ’свог доба’ и нове музикологије, музиколошки доприноси овом пољу били су резултат интердисциплинарне базе дисциплине, те су тако резултати тих истраживања обухватала историографску, формалистичку, музичко-теоријску, естетичку,
филозофску, етномузиколошку, етнографску раван. 
На институционализацију студија метал музике утицало је неколико догађаја који су се одвили крајем прве деценије 21. века, а нарочито током 2010-их. Због успостављања нове научне парадигме и платформе, пре свега треба поменути оснивање Међународног друштва за проучавање метал музике
(ISMMS) 2013. године, а потом и установљивање редовних међународних и интер/транс/мултидисциплинарних научних скупова широм света. Својеврсна аутономија ове области, нарочито у односу на студије популарне музике, заокружена је успостављањем научног часописа Metal Music Studies (Intellect Press, 2015). Тако је, у односу на претходни период, где је научно истраживање метал музике остајало у запећку шире слике и спорадично се пробијало у први план, успостављена платформа на којој ће се убрзо развити дисциплинарни односи.
Иако су неки од гласноговорника студија метал музике инсистирали на оснаживању музиколошког ’гласа’ пре свега ради компетентног говора о звуку, музичким структурама и хармонско-мелодијским аспектима метал музике, овај текст је увидом у кратку али садржајну историју музиколошких написа показао да се, услед основних интердисциплинарних поставки музикологије, допринос музиколога не може свести ’само’ на музичко-теоријски рад. Штавише, он предвиђа још богатију продукцију која долази из сфере музикологије, а која ће бити инспирисана и испровцирана новим технологијама, инструментима и извођаштвом, савременим друштвом и публиком, начинима стварања,
постпродукције и рецепције музике.",
publisher = "Belgrade : Institute of Musicology SASA",
journal = "Shaping the Present through the Future: Musicology, Ethnomusicology and Contemporaneity",
booktitle = "Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies, Раскринкавање „потенцијално монолитног погледа на музикологију“: улога музикологије у студијама метал музике",
pages = "97-109",
volume = "109",
url = "https://hdl.handle.net/21.15107/rcub_dais_12001"
}
Radovanović, B.. (2021-10). Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies. in Shaping the Present through the Future: Musicology, Ethnomusicology and Contemporaneity
Belgrade : Institute of Musicology SASA., 109, 97-109.
https://hdl.handle.net/21.15107/rcub_dais_12001
Radovanović B. Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies. in Shaping the Present through the Future: Musicology, Ethnomusicology and Contemporaneity. 2021;109:97-109.
https://hdl.handle.net/21.15107/rcub_dais_12001 .
Radovanović, Bojana, "Debunking “Potentially Monolithic Perceptions of Musicology”: The Role of Musicology in Metal Music Studies" in Shaping the Present through the Future: Musicology, Ethnomusicology and Contemporaneity, 109 (2021-10):97-109,
https://hdl.handle.net/21.15107/rcub_dais_12001 .

Љубица Марић (1909–2003)

Чичовачки, Борислав

(Београд : Српска академија наука и уметности, 2021)

TY  - CONF
AU  - Чичовачки, Борислав
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12262
AB  - Љубица Марић (1909–2003) је најоригиналнији српски композитор XX
века. Свој специфичан музички стил остварила је аутентичном комбинацијом
примене модуса српског Осмогласника (пореклом из византијске
црквене традиције) и експресионистичког музичког идиома. Она је први
композитор у историји музике који је модални систем византијског порекла
користио за формирање целокупне мелодијско-хармонске структуре
сопствених нелитургијских музичких дела.
AB  - Ljubica Marić (1909–2003) was Serbia’s most original composer of the 20th century.
Not only is Ljubica Marić important for Serbian art because she was the first musician
in Serbia to earn a degree in composition, or because she wrote the first Serbian atonal
composition, was the first female conductor from Serbia and the composer whose music
was very well received abroad, but because Ljubica Marić was the first Serbian composer
who, using the unbridled curiosity of her immense talent, produced a powerfully authentic
creative opus which far surpassed the borders of Serbia and the former Yugoslavia
and was a genuine artistic expression on the world music scene. Thus, Ljubica Marić was,
and still is, one of the few Serbian artists whose work left a distinctive, creative mark on
the entire art scene of her time. She established her distinctive musical style through the
authentic synthesis of the Serbian Octoëchos modes (originating in the Byzantine church
tradition) and the expressionist musical idiom. She was the first composer in the history
of music who used the modal system of Byzantine origin to create a complete melodicharmonic
structure of her non-liturgical compositions.
Ljubica Marić was born in Kragujevac, on 18 March 1909. She began studying music
(violin) in Valjevo, where she lived with her mother after the First World War and following
the death of her father in the Second Balkan War. After moving to Belgrade in 1923,
Ljubica continued her violin studies at the then only music school, where she soon met
Josip Slavenski, one of the most authentic Serbian and Yugoslav composers, becoming
acquainted with his music, too. Slavenski discovered in her a talent for composing music
and wholeheartedly encouraged her development, giving her lessons in music composition.
Thus, in 1929, Ljubica Marić earned her diploma in composition and became the
first holder of such a diploma obtained through education in Serbia. That same year, on
the advice of Slavenski, she decided to enroll at the Prague State Conservatory, to study
composition. After passing the entrance exam (when she played her Sonata Fantasia for
solo violin), Ljubica was not admitted to the regular composition studies program, but,
because of the exceptional value of her compositions, continued her studies in Josef Suk’s
class at the so-called Master School Department, which was the level of study that corresponded
to today’s postgraduate or master’s studies. Consequently, in the late summer
of 1929, Ljubica and her mother moved to Prague. There, Ljubica very soon became acquainted
with new compositional techniques of the time and was, at first, most attracted
to atonalism. In those days, Prague was visited by prominent composers who gave lectures
at the conservatory – Schoenberg, Prokofiev and Hindemith – in whose lectures
Ljubica took a keen interest. Her musical curiosity also motivated her to travel and attend
concerts of contemporary music (Vienna, 1932). In addition to composition, Ljubica
Marić also studied conducting in Prague, under Professor Metod Doležil, but she also
attended master classes of one of the most renowned European conductors of the time, April 1996, Ljubica visited Amsterdam for the second time after 63 years, where, in the
De IJsbreker Music Center Hall, a gala concert honoring the release of the compact disc
with her chamber music was held. A few days later, in Cologne Philharmonic Hall, Ljubica
Marić attended the world premiere of her piano trio Torso, which was commissioned by
the KölnMusik Foundation and whose premiere was a great success. It was then when
Ljubica’s music made an appearance on the European music scene shining in all its glory.
Concerts of her chamber music were then held in Germany, Switzerland, Sweden and the
Netherlands. The German music publishing house Furore Verlag from Kassel decided to
publish all of Ljubica’s music, thus becoming her exclusive publisher. Ljubica Marić was
the first Serbian composer whose entire oeuvre was published abroad. She died in Belgrade
on 17 September 2003. In 2009, the centenary of her birth was marked with the
support of UNESCO, which included the date of her birth in the UNESCO Calendar of
anniversaries of eminent personalities important for the world cultural heritage.
Nearly seventy years passed between the creation of her first composition Sorrow
for the Girl (1928) and her last work, the piano trio Torso (1996). Ljubica Marić spent that
time by listening carefully to her own world of sounds, studying folk music and Serbian
Octoëchos, learning, reading and contemplating. Over that time span, she created around
forty musical compositions for solo instruments, solo voice, chamber ensembles, choir,
string and symphony orchestras. In terms of the stylistic traits of her musical compositions,
Ljubica Marić’s entire oeuvre can be divided into five distinct phases:
1. T he early phase (1929–1944);
2. T he phase of extended tonality, tonal fields, modality and Balkan folk music
(1944/5–1955);
3. T he mature phase or the phase of Octoëchos (1956–1967);
4. T he phase of musical improvisation (1968–1975);
5. T he last phase ((1976) 1983–1996).
In her early creative phase, Ljubica Marić drew much of her inspiration from two
sources: that of traditional folk music elements and avant-garde aspirations of interwar
European music (atonality, microtonality and athematism). The second phase of
her creative practice was characterized by the use of tonal fields (modeled on that of
Scriabin), as well as by the exploration of folk music. The completion of this phase resulted
in the first artistic integration, which took place in the oeuvre of Ljubica Marić,
embodied in Sonata for Violin and Piano, which implied the synthesis of melodic and
rhythmic elements based on the features of the Western Balkan folk music, on the one
hand, and the harmonic aspect built on dissonant chords, on the other. During the third
phase, she produced her most significant compositions, which, at the same time, were
among the highlights of Serbian music and art of all time. These are the cantata Songs
of Space (1956), Passacaglia for symphony orchestra (1957), and the cycle Music of Octoëchos
(1958–1963), consisting of four compositions (Octoïcha 1, for symphony orchestra
(1958/9); Byzantine Concerto for piano and orchestra (1959); the chamber cantata The
Threshold of Dream (1961), and the composition for soloists and chamber orchestra Ostinato
Super Thema Octoïcha (1963)). The cantata Song of Space is a continuation of her
established principle to combine divergent musical influences, which is here upgraded and compounded several times: one influence, based on the use of structural features of
folk music (close to the role models of Bártok and Stravinsky), and the other one, based
on the traditions of interwar musical expressionism, atonality in particular. The central
feature of composer’s creative practice applied in the cycle Music of Octoëchos was the
use of melodies from church chants from Octoëchos by Stevan Mokranjac, which served
as the basic and sole source for the creation of the melodic and harmonic components
of her compositions. The modes and tunes in the Octoëchos became Ljubica Marić’s most
important musical source of inspiration. The most important novelty in composing,
which is characteristic for the entire cycle Music of Octoëchos, was the fact that for the
first time ever a composer used the modal structure of melodies, originating in medieval
Byzantine spiritual music, to conceive the entire melodic and harmonic structure of a
non-liturgical and non-programatic piece of music.
During the phase of musical improvisation, she produced the piece Music of Sound,
which was recorded on about twenty magnetophon tapes. In the final, fifth phase of her
creative practice, Ljubica Marić produced some exceptional, primarily chamber pieces,
with which she once again entered the realm of a unique originality based on the authentic
form of her compositions and a distinct system of applying the elements of musical
archaisation, as one of the most striking features of her personal expression. She created
these compositions by alternately arranging diatonic and chromatic fields, whereby
all diatonic fields were entirely based on the formulas of church melodies in Octoëchos.
The most important aspects of musical archaisation in her works was the use of musical
elements and features of folk music (mainly the so-called old Serbian music tradition),
melodic elements from the collection Octoëchos, as well as the use of Western European
polyphony and medieval compositional principles.
Ljubica Marić’s oeuvre, consisting of pieces such as Songs of Space, which, immediately
after the premiere, achieved cult status in Serbian and Yugoslavian art and culture,
had a huge impact on the then Serbian music, and later on as well. Her music influenced
the composers from other republics of the former Yugoslavia. The hallmark of her work
was the system of application of elements of musical archaisation, especially the Octoëchos
mode, as well as the fuse of musical elements and principles from different stylistic
epochs (from medieval organum to the atonality and microtonality of the 20th century
music).
As a young composer, Ljubica Marić used avant-garde music composition techniques,
to which she later added some distinctive elements of the traditional medieval
music of the Balkans (originating in Byzantium). Thus, she created a unique oeuvre within
the 20th century world music scene. Owing to that, not only is Ljubica Marić the most
significant and the most original Serbian composer of the 20th century, but also one of
the most significant Serbian artists in general, and at the same time was one of the most
unique and independent-minded musical authors of the 20th century.
PB  - Београд : Српска академија наука и уметности
C3  - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
T1  - Љубица Марић (1909–2003)
SP  - 232
EP  - 283
ER  - 
@conference{
author = "Чичовачки, Борислав",
year = "2021",
abstract = "Љубица Марић (1909–2003) је најоригиналнији српски композитор XX
века. Свој специфичан музички стил остварила је аутентичном комбинацијом
примене модуса српског Осмогласника (пореклом из византијске
црквене традиције) и експресионистичког музичког идиома. Она је први
композитор у историји музике који је модални систем византијског порекла
користио за формирање целокупне мелодијско-хармонске структуре
сопствених нелитургијских музичких дела., Ljubica Marić (1909–2003) was Serbia’s most original composer of the 20th century.
Not only is Ljubica Marić important for Serbian art because she was the first musician
in Serbia to earn a degree in composition, or because she wrote the first Serbian atonal
composition, was the first female conductor from Serbia and the composer whose music
was very well received abroad, but because Ljubica Marić was the first Serbian composer
who, using the unbridled curiosity of her immense talent, produced a powerfully authentic
creative opus which far surpassed the borders of Serbia and the former Yugoslavia
and was a genuine artistic expression on the world music scene. Thus, Ljubica Marić was,
and still is, one of the few Serbian artists whose work left a distinctive, creative mark on
the entire art scene of her time. She established her distinctive musical style through the
authentic synthesis of the Serbian Octoëchos modes (originating in the Byzantine church
tradition) and the expressionist musical idiom. She was the first composer in the history
of music who used the modal system of Byzantine origin to create a complete melodicharmonic
structure of her non-liturgical compositions.
Ljubica Marić was born in Kragujevac, on 18 March 1909. She began studying music
(violin) in Valjevo, where she lived with her mother after the First World War and following
the death of her father in the Second Balkan War. After moving to Belgrade in 1923,
Ljubica continued her violin studies at the then only music school, where she soon met
Josip Slavenski, one of the most authentic Serbian and Yugoslav composers, becoming
acquainted with his music, too. Slavenski discovered in her a talent for composing music
and wholeheartedly encouraged her development, giving her lessons in music composition.
Thus, in 1929, Ljubica Marić earned her diploma in composition and became the
first holder of such a diploma obtained through education in Serbia. That same year, on
the advice of Slavenski, she decided to enroll at the Prague State Conservatory, to study
composition. After passing the entrance exam (when she played her Sonata Fantasia for
solo violin), Ljubica was not admitted to the regular composition studies program, but,
because of the exceptional value of her compositions, continued her studies in Josef Suk’s
class at the so-called Master School Department, which was the level of study that corresponded
to today’s postgraduate or master’s studies. Consequently, in the late summer
of 1929, Ljubica and her mother moved to Prague. There, Ljubica very soon became acquainted
with new compositional techniques of the time and was, at first, most attracted
to atonalism. In those days, Prague was visited by prominent composers who gave lectures
at the conservatory – Schoenberg, Prokofiev and Hindemith – in whose lectures
Ljubica took a keen interest. Her musical curiosity also motivated her to travel and attend
concerts of contemporary music (Vienna, 1932). In addition to composition, Ljubica
Marić also studied conducting in Prague, under Professor Metod Doležil, but she also
attended master classes of one of the most renowned European conductors of the time, April 1996, Ljubica visited Amsterdam for the second time after 63 years, where, in the
De IJsbreker Music Center Hall, a gala concert honoring the release of the compact disc
with her chamber music was held. A few days later, in Cologne Philharmonic Hall, Ljubica
Marić attended the world premiere of her piano trio Torso, which was commissioned by
the KölnMusik Foundation and whose premiere was a great success. It was then when
Ljubica’s music made an appearance on the European music scene shining in all its glory.
Concerts of her chamber music were then held in Germany, Switzerland, Sweden and the
Netherlands. The German music publishing house Furore Verlag from Kassel decided to
publish all of Ljubica’s music, thus becoming her exclusive publisher. Ljubica Marić was
the first Serbian composer whose entire oeuvre was published abroad. She died in Belgrade
on 17 September 2003. In 2009, the centenary of her birth was marked with the
support of UNESCO, which included the date of her birth in the UNESCO Calendar of
anniversaries of eminent personalities important for the world cultural heritage.
Nearly seventy years passed between the creation of her first composition Sorrow
for the Girl (1928) and her last work, the piano trio Torso (1996). Ljubica Marić spent that
time by listening carefully to her own world of sounds, studying folk music and Serbian
Octoëchos, learning, reading and contemplating. Over that time span, she created around
forty musical compositions for solo instruments, solo voice, chamber ensembles, choir,
string and symphony orchestras. In terms of the stylistic traits of her musical compositions,
Ljubica Marić’s entire oeuvre can be divided into five distinct phases:
1. T he early phase (1929–1944);
2. T he phase of extended tonality, tonal fields, modality and Balkan folk music
(1944/5–1955);
3. T he mature phase or the phase of Octoëchos (1956–1967);
4. T he phase of musical improvisation (1968–1975);
5. T he last phase ((1976) 1983–1996).
In her early creative phase, Ljubica Marić drew much of her inspiration from two
sources: that of traditional folk music elements and avant-garde aspirations of interwar
European music (atonality, microtonality and athematism). The second phase of
her creative practice was characterized by the use of tonal fields (modeled on that of
Scriabin), as well as by the exploration of folk music. The completion of this phase resulted
in the first artistic integration, which took place in the oeuvre of Ljubica Marić,
embodied in Sonata for Violin and Piano, which implied the synthesis of melodic and
rhythmic elements based on the features of the Western Balkan folk music, on the one
hand, and the harmonic aspect built on dissonant chords, on the other. During the third
phase, she produced her most significant compositions, which, at the same time, were
among the highlights of Serbian music and art of all time. These are the cantata Songs
of Space (1956), Passacaglia for symphony orchestra (1957), and the cycle Music of Octoëchos
(1958–1963), consisting of four compositions (Octoïcha 1, for symphony orchestra
(1958/9); Byzantine Concerto for piano and orchestra (1959); the chamber cantata The
Threshold of Dream (1961), and the composition for soloists and chamber orchestra Ostinato
Super Thema Octoïcha (1963)). The cantata Song of Space is a continuation of her
established principle to combine divergent musical influences, which is here upgraded and compounded several times: one influence, based on the use of structural features of
folk music (close to the role models of Bártok and Stravinsky), and the other one, based
on the traditions of interwar musical expressionism, atonality in particular. The central
feature of composer’s creative practice applied in the cycle Music of Octoëchos was the
use of melodies from church chants from Octoëchos by Stevan Mokranjac, which served
as the basic and sole source for the creation of the melodic and harmonic components
of her compositions. The modes and tunes in the Octoëchos became Ljubica Marić’s most
important musical source of inspiration. The most important novelty in composing,
which is characteristic for the entire cycle Music of Octoëchos, was the fact that for the
first time ever a composer used the modal structure of melodies, originating in medieval
Byzantine spiritual music, to conceive the entire melodic and harmonic structure of a
non-liturgical and non-programatic piece of music.
During the phase of musical improvisation, she produced the piece Music of Sound,
which was recorded on about twenty magnetophon tapes. In the final, fifth phase of her
creative practice, Ljubica Marić produced some exceptional, primarily chamber pieces,
with which she once again entered the realm of a unique originality based on the authentic
form of her compositions and a distinct system of applying the elements of musical
archaisation, as one of the most striking features of her personal expression. She created
these compositions by alternately arranging diatonic and chromatic fields, whereby
all diatonic fields were entirely based on the formulas of church melodies in Octoëchos.
The most important aspects of musical archaisation in her works was the use of musical
elements and features of folk music (mainly the so-called old Serbian music tradition),
melodic elements from the collection Octoëchos, as well as the use of Western European
polyphony and medieval compositional principles.
Ljubica Marić’s oeuvre, consisting of pieces such as Songs of Space, which, immediately
after the premiere, achieved cult status in Serbian and Yugoslavian art and culture,
had a huge impact on the then Serbian music, and later on as well. Her music influenced
the composers from other republics of the former Yugoslavia. The hallmark of her work
was the system of application of elements of musical archaisation, especially the Octoëchos
mode, as well as the fuse of musical elements and principles from different stylistic
epochs (from medieval organum to the atonality and microtonality of the 20th century
music).
As a young composer, Ljubica Marić used avant-garde music composition techniques,
to which she later added some distinctive elements of the traditional medieval
music of the Balkans (originating in Byzantium). Thus, she created a unique oeuvre within
the 20th century world music scene. Owing to that, not only is Ljubica Marić the most
significant and the most original Serbian composer of the 20th century, but also one of
the most significant Serbian artists in general, and at the same time was one of the most
unique and independent-minded musical authors of the 20th century.",
publisher = "Београд : Српска академија наука и уметности",
journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1",
title = "Љубица Марић (1909–2003)",
pages = "232-283"
}
Чичовачки, Б.. (2021). Љубица Марић (1909–2003). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
Београд : Српска академија наука и уметности., 232-283.
Чичовачки Б. Љубица Марић (1909–2003). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:232-283..
Чичовачки, Борислав, "Љубица Марић (1909–2003)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):232-283.

Зора Петровић (1894–1962)

Чубрило, Јасмина

(Београд : Српска академија наука и уметности, 2021)

TY  - CONF
AU  - Чубрило, Јасмина
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12261
AB  - Зора Петровић (1894–1962) је сликарка која је својим јединственим
уметничким језиком, препознатљивим по снажном, енергичном гесту,
широким и страсним потезима, са доста густе пасте, изражајног колорита
обележила време у којем је стварала. Круг мотива и тема у сликарству
Зоре Петровић производ је мешања утицаја ригидних правила на којима
се темељио програм традиционалне едукације будућег сликара, с једне,
и модерне уметности схваћене као оне која и у тематском и у техничком
смислу на адекватан начин рефлектује променљиву и контрадикторну
природу модерног живота, с друге стране. Њен приступ уметности сва-
како није био усмерен ка радикалном мењању света путем иновације
уметничког језика, али јесте у оквирима традиционалнe уметничке дис-
циплине и језика те дисциплине разоткривао механизме патријархалне
хетеро-културе и развијао се кроз активно преиспитивање успостављених
и нормативизованих граница родних идентитета, њихових учинака и
коначно кроз њихову деконструкцију.
AB  - Zora Petrović (1894–1962) was a painter who, with her unique artistic language,
known for her strong, energetic gesture, wide and passionate brush strokes, and plenty
of thick paste and expressive colors, marked the time in which she created. She acquired
her education in Belgrade and Pest in the years before, during and immediately
after the First World War, whereas in the mid-1920s, like many of her colleagues, she
went to Paris for a one-year professional training. Her dual career path of an art pedagogue,
from a “teacher of skills” to the post of full professor, and an artist began in late
1920 and early 1921, and ended with her death on 26 May 1962. Zora Petrović painted
tirelessly: her solo exhibitions were an opportunity to present to the general public
what she did and how her painting was evolving, whereas group exhibitions were an
opportunity to compare and contextualize her own painting within the current trends
in Serbian and Yugoslav art, i.e. the opportunity to be present and her work to be visible,
recognized, mapped and meaningful. During her long art career, Zora earned a
Diplome de Médaille d’Argent for her exhibition held in the Pavilion of the Kingdom of
Yugoslavia at Exposition Internationale des Arts et des Techniques in Paris, in 1937; was
the recipient of the 1956 October Award for her artworks exhibited at her seventh solo
exhibition in the “Cvijeta Zuzorić” Art Pavilion in Belgrade in 1955. In 1958, by decree of
the president of the FPRY, Josip Broz Tito, she was awarded the Order of Labour with
Red Banner. In 1961, she was elected a corresponding member of the Serbian Academy
of Sciences and Arts, thus becoming the fourth woman after Katarina Ivanović, Isidora
Sekulić and Desanka Maksimović, to whom this male-only club opened its doors.
The range of motifs and themes in Zora Petrović’s paintings is a result of the synthesis
of influences of rigid rules imposed by traditional art training curricula and
modern art, thematically and technically understood as the art adequately reflecting
the changing and contradictory nature of modern life. Zora Petrović herself reflected
upon art and her painting within the framework of traditional principles based on selectivity,
partiality and the policy of exclusion and those that linked art with ‘aesthetic
experience’, considered as something universal, natural, unchangeable and, ultimately,
detached from social context and ideology. Her painting practice evolved through her
gradual moving away from academic art and her adoption of ideas that would lead her
to a modernist conceptualization of a painting as a medium based on its own distinctive,
unchangeable qualities. Zora Petrović first accepted the general assumptions suggested
by the early modern painting that color was not an addition to form, the process
of emancipation of color from its traditional purely descriptive function, as well as
fluctuations around the local color tone. In addition, she changed the technique of applying
paint on canvas and as of the late 1920s her move became wider, more dynamic,
more energetic, more unrestrained; it was the move that emphasized the materiality of paint or transformed paint into a vital and independent plastic structure. In the late
1930s, after having used dark color palettes for many years, even though she started
using bright color palettes and pure colors, she did not completely abandon hue color
modulation. She applied the warm tones first and ended with the cold ones, that is,
she mainly applied a cold tone over a warm background, increasing the intensity of the
color with complementary relations (usually red and green). In literature, this reversal
is interpreted as a consequence of two influences that Zora Petrović herself identified.
They both belong to the visual heritage of the Balkans, whereas there is no consensus
on whether they are both relevant or just one of them. Given that, in the late 1930s, Zora
Petrović turned to the motif of ordinary women wearing (everyday, or work clothes)
folk costumes (due to the shortage or reluctance of male models); the color effects
of their attire were consensually and unanimously recognized as the first influence.
Although the second influence came from Serbian medieval frescoes and whilst the
underpaintings (especially of the incarnate, together with the shift from warm, redorange-
ochre tones to green shadows, including the brown and hazy olive-green circles
under the eyes, and the fullness of pure colors, the modeling with coloring methods,
large areas covered in color of the same value and intensity, contours separating
the motifs from the background and the harmony of complementary and simultaneous
contrasts) could be linked to the medieval Eastern Christian painting tradition, it is not
the connection that one can easily notice when looking at her painting but is, in fact,
consciously searched for and inscribed. The characteristics observed in the paintings
of Zora Petrović represent, first and foremost, an amalgam of early modernist painting
expressions, whereas the question on more specific circumstances and reasons, which
made the artist legitimize the distinctiveness of her artistic work by connecting it to
the medieval painting tradition, remains open for some future research. The harsh,
raw and at the same time skillful painting technique of Zora Petrović, along with the
references to folk artistic expression and with perhaps her own view on the medieval
Eastern Christian painting tradition, also brings her painting closer to the logic of
primitivism. The color, as a trace of wide, layered, spontaneous, curvy, unsystematic,
energetically performed brush strokes, becomes a matter that possesses the quality
of a ‘wild’ expression, i.e. the value of untamed fluidity that breaks the psychological
boundaries between the inner and outer being, but also the boundaries between oneself
and the others. That is why her female nudes caused a discomfort which could have
been overcome only through a highly developed formal language of art criticism, which
as a masculine discourse, disciplined, consolidated, established boundaries, preserving
the integrity of culture from the potential risk of the work of matter. Even though
the implications of her painting can be considered as feminist, in the sense that it
possesses the potential to destabilize the meanings and values of patriarchal culture
that are based on men’s control over women’s labor, their sensuality, as well as over the
ways and possibilities of their access to symbolic representation, Zora Petrović’s art
could not be described as feminist art. Even though her approach to art certainly was
not aiming at radically changing the world through the innovation of artistic language,
it did unveil the mechanisms of patriarchal heterosexual culture, within the frameworks
of traditional artistic discipline and the language of that discipline, and evolved
through an active re-examination of the established and normativised boundaries of
gender identities, their effects and finally through their deconstruction.
PB  - Београд : Српска академија наука и уметности
C3  - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
T1  - Зора Петровић (1894–1962)
SP  - 188
EP  - 231
ER  - 
@conference{
author = "Чубрило, Јасмина",
year = "2021",
abstract = "Зора Петровић (1894–1962) је сликарка која је својим јединственим
уметничким језиком, препознатљивим по снажном, енергичном гесту,
широким и страсним потезима, са доста густе пасте, изражајног колорита
обележила време у којем је стварала. Круг мотива и тема у сликарству
Зоре Петровић производ је мешања утицаја ригидних правила на којима
се темељио програм традиционалне едукације будућег сликара, с једне,
и модерне уметности схваћене као оне која и у тематском и у техничком
смислу на адекватан начин рефлектује променљиву и контрадикторну
природу модерног живота, с друге стране. Њен приступ уметности сва-
како није био усмерен ка радикалном мењању света путем иновације
уметничког језика, али јесте у оквирима традиционалнe уметничке дис-
циплине и језика те дисциплине разоткривао механизме патријархалне
хетеро-културе и развијао се кроз активно преиспитивање успостављених
и нормативизованих граница родних идентитета, њихових учинака и
коначно кроз њихову деконструкцију., Zora Petrović (1894–1962) was a painter who, with her unique artistic language,
known for her strong, energetic gesture, wide and passionate brush strokes, and plenty
of thick paste and expressive colors, marked the time in which she created. She acquired
her education in Belgrade and Pest in the years before, during and immediately
after the First World War, whereas in the mid-1920s, like many of her colleagues, she
went to Paris for a one-year professional training. Her dual career path of an art pedagogue,
from a “teacher of skills” to the post of full professor, and an artist began in late
1920 and early 1921, and ended with her death on 26 May 1962. Zora Petrović painted
tirelessly: her solo exhibitions were an opportunity to present to the general public
what she did and how her painting was evolving, whereas group exhibitions were an
opportunity to compare and contextualize her own painting within the current trends
in Serbian and Yugoslav art, i.e. the opportunity to be present and her work to be visible,
recognized, mapped and meaningful. During her long art career, Zora earned a
Diplome de Médaille d’Argent for her exhibition held in the Pavilion of the Kingdom of
Yugoslavia at Exposition Internationale des Arts et des Techniques in Paris, in 1937; was
the recipient of the 1956 October Award for her artworks exhibited at her seventh solo
exhibition in the “Cvijeta Zuzorić” Art Pavilion in Belgrade in 1955. In 1958, by decree of
the president of the FPRY, Josip Broz Tito, she was awarded the Order of Labour with
Red Banner. In 1961, she was elected a corresponding member of the Serbian Academy
of Sciences and Arts, thus becoming the fourth woman after Katarina Ivanović, Isidora
Sekulić and Desanka Maksimović, to whom this male-only club opened its doors.
The range of motifs and themes in Zora Petrović’s paintings is a result of the synthesis
of influences of rigid rules imposed by traditional art training curricula and
modern art, thematically and technically understood as the art adequately reflecting
the changing and contradictory nature of modern life. Zora Petrović herself reflected
upon art and her painting within the framework of traditional principles based on selectivity,
partiality and the policy of exclusion and those that linked art with ‘aesthetic
experience’, considered as something universal, natural, unchangeable and, ultimately,
detached from social context and ideology. Her painting practice evolved through her
gradual moving away from academic art and her adoption of ideas that would lead her
to a modernist conceptualization of a painting as a medium based on its own distinctive,
unchangeable qualities. Zora Petrović first accepted the general assumptions suggested
by the early modern painting that color was not an addition to form, the process
of emancipation of color from its traditional purely descriptive function, as well as
fluctuations around the local color tone. In addition, she changed the technique of applying
paint on canvas and as of the late 1920s her move became wider, more dynamic,
more energetic, more unrestrained; it was the move that emphasized the materiality of paint or transformed paint into a vital and independent plastic structure. In the late
1930s, after having used dark color palettes for many years, even though she started
using bright color palettes and pure colors, she did not completely abandon hue color
modulation. She applied the warm tones first and ended with the cold ones, that is,
she mainly applied a cold tone over a warm background, increasing the intensity of the
color with complementary relations (usually red and green). In literature, this reversal
is interpreted as a consequence of two influences that Zora Petrović herself identified.
They both belong to the visual heritage of the Balkans, whereas there is no consensus
on whether they are both relevant or just one of them. Given that, in the late 1930s, Zora
Petrović turned to the motif of ordinary women wearing (everyday, or work clothes)
folk costumes (due to the shortage or reluctance of male models); the color effects
of their attire were consensually and unanimously recognized as the first influence.
Although the second influence came from Serbian medieval frescoes and whilst the
underpaintings (especially of the incarnate, together with the shift from warm, redorange-
ochre tones to green shadows, including the brown and hazy olive-green circles
under the eyes, and the fullness of pure colors, the modeling with coloring methods,
large areas covered in color of the same value and intensity, contours separating
the motifs from the background and the harmony of complementary and simultaneous
contrasts) could be linked to the medieval Eastern Christian painting tradition, it is not
the connection that one can easily notice when looking at her painting but is, in fact,
consciously searched for and inscribed. The characteristics observed in the paintings
of Zora Petrović represent, first and foremost, an amalgam of early modernist painting
expressions, whereas the question on more specific circumstances and reasons, which
made the artist legitimize the distinctiveness of her artistic work by connecting it to
the medieval painting tradition, remains open for some future research. The harsh,
raw and at the same time skillful painting technique of Zora Petrović, along with the
references to folk artistic expression and with perhaps her own view on the medieval
Eastern Christian painting tradition, also brings her painting closer to the logic of
primitivism. The color, as a trace of wide, layered, spontaneous, curvy, unsystematic,
energetically performed brush strokes, becomes a matter that possesses the quality
of a ‘wild’ expression, i.e. the value of untamed fluidity that breaks the psychological
boundaries between the inner and outer being, but also the boundaries between oneself
and the others. That is why her female nudes caused a discomfort which could have
been overcome only through a highly developed formal language of art criticism, which
as a masculine discourse, disciplined, consolidated, established boundaries, preserving
the integrity of culture from the potential risk of the work of matter. Even though
the implications of her painting can be considered as feminist, in the sense that it
possesses the potential to destabilize the meanings and values of patriarchal culture
that are based on men’s control over women’s labor, their sensuality, as well as over the
ways and possibilities of their access to symbolic representation, Zora Petrović’s art
could not be described as feminist art. Even though her approach to art certainly was
not aiming at radically changing the world through the innovation of artistic language,
it did unveil the mechanisms of patriarchal heterosexual culture, within the frameworks
of traditional artistic discipline and the language of that discipline, and evolved
through an active re-examination of the established and normativised boundaries of
gender identities, their effects and finally through their deconstruction.",
publisher = "Београд : Српска академија наука и уметности",
journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1",
title = "Зора Петровић (1894–1962)",
pages = "188-231"
}
Чубрило, Ј.. (2021). Зора Петровић (1894–1962). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
Београд : Српска академија наука и уметности., 188-231.
Чубрило Ј. Зора Петровић (1894–1962). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:188-231..
Чубрило, Јасмина, "Зора Петровић (1894–1962)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):188-231.

Ispitivanje i otklanјanјe pojave korozije i termičkih oksida na metalnim delovima elektroenergetskog postojenja

Mihailović, Marija; Jegdić, Bore; Jugović, Branimir; Kovačina, Jovanka; Radojković, Bojana; Patarić, Aleksandra; Jokić, Bojan

(Belgrade : University of Belgrade - Institute of Chemistry, Technology and Metallurgy, 2021)

TY  - GEN
AU  - Mihailović, Marija
AU  - Jegdić, Bore
AU  - Jugović, Branimir
AU  - Kovačina, Jovanka
AU  - Radojković, Bojana
AU  - Patarić, Aleksandra
AU  - Jokić, Bojan
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/11630
AB  - Praćenje pojave i brzine korozije, nastanak termičkih oksida na površini metalnih delova eletroenergetskog postrojenјa, kao i način njihovog otklanjanja na način koji je tehnološki pogodan, ekonomski pristupačan i ekološki opravdan prikazan je u ovom tehničkom rešenju Ispitivanjem je ustanovljeno da su metalni delovi na kojima se javlja korozija izrađeni od na nerđajućeg čelika AISI 304, pa je pojava korozije i termičkih oksida praćena je u odnosu na to, kao i sastav prašine sa kojom su metalni delovi u kontaktu. Pojava termičkih oksida na površini nerđajućih čelika posledica je povišene temperature na mestu zavarivanja metalnih delova.
Merena je vrednost pH oba rastvora: etalonskog i zasićenog rastvoru prašine iz pogona.
Sastav uzoraka prašine određen je FTIR metodom, pa su na osnovu prisutnih jona u rastvoru definisana ostala ispitivanja.
Određivan je korozioni potencijal Ekor, vrednost otpora polarizacije Rp, kao i gustina struje korozije jkor. Sva ispitivanja nerđajućeg čelika u etalonskom rastvoru i u zasićenom rastvoru prašine iz pogona firme naručioca, rađena su za 1 sat i u toku 25 dana.
Kao rezultat svih istražoivanja, date su tehnološke preporuke i način otklanjanja korozije i termičkih oksida.
Rešenje je prodato naručuicu u toku 2020.godine, a od januara 2021.godine primenjeno u postrojenju naručioca, ELNOS BL d.o.o., koji su izjavom potvrdili primenu ovog tehničkog rešenja u svom poslovanju.
AB  - Monitoring the occurrence and rate of corrosion, the formation of thermal oxides on the surface of metal parts of the power plant, as well as the method of their elimination in a way that is technologically suitable, economically affordable and environmentally justified is shown in this technical solution. It has been established that the metal elements affected by corrosion were made from stainless steel AISI 304. Accordingly, the occurrence of corrosion and thermal oxides was monitored based on the material and the composition of the dust with which the metal parts are in contact. The emergence of thermal oxides on the surface of stainless steels is a consequence of the elevated temperature at the welding site.
The pH value of both solutions was measured: standard and saturated solution of dust from the plant. The composition of the dust samples was determined by FTIR. The other tests were defined based on the ions present in the solution.
The corrosion potential, the value of the polarization resistance, as well as the corrosion current density were determined. All tests of stainless steel in the standard solution and in the saturated solution of dust were performed for one hour within a span of 25 days.
Technological recommendations on how to eliminate corrosion and thermal oxides are provided.
The solution has been applied since January 2021 by ELNOS BL d.o.o.
PB  - Belgrade : University of Belgrade - Institute of Chemistry, Technology and Metallurgy
T1  - Ispitivanje i otklanјanјe pojave korozije i termičkih oksida na metalnim delovima elektroenergetskog postojenja
T1  - Possibility of removal of corrosion and thermal oxides on metal parts of electric power plant
UR  - https://hdl.handle.net/21.15107/rcub_dais_11630
ER  - 
@misc{
author = "Mihailović, Marija and Jegdić, Bore and Jugović, Branimir and Kovačina, Jovanka and Radojković, Bojana and Patarić, Aleksandra and Jokić, Bojan",
year = "2021",
abstract = "Praćenje pojave i brzine korozije, nastanak termičkih oksida na površini metalnih delova eletroenergetskog postrojenјa, kao i način njihovog otklanjanja na način koji je tehnološki pogodan, ekonomski pristupačan i ekološki opravdan prikazan je u ovom tehničkom rešenju Ispitivanjem je ustanovljeno da su metalni delovi na kojima se javlja korozija izrađeni od na nerđajućeg čelika AISI 304, pa je pojava korozije i termičkih oksida praćena je u odnosu na to, kao i sastav prašine sa kojom su metalni delovi u kontaktu. Pojava termičkih oksida na površini nerđajućih čelika posledica je povišene temperature na mestu zavarivanja metalnih delova.
Merena je vrednost pH oba rastvora: etalonskog i zasićenog rastvoru prašine iz pogona.
Sastav uzoraka prašine određen je FTIR metodom, pa su na osnovu prisutnih jona u rastvoru definisana ostala ispitivanja.
Određivan je korozioni potencijal Ekor, vrednost otpora polarizacije Rp, kao i gustina struje korozije jkor. Sva ispitivanja nerđajućeg čelika u etalonskom rastvoru i u zasićenom rastvoru prašine iz pogona firme naručioca, rađena su za 1 sat i u toku 25 dana.
Kao rezultat svih istražoivanja, date su tehnološke preporuke i način otklanjanja korozije i termičkih oksida.
Rešenje je prodato naručuicu u toku 2020.godine, a od januara 2021.godine primenjeno u postrojenju naručioca, ELNOS BL d.o.o., koji su izjavom potvrdili primenu ovog tehničkog rešenja u svom poslovanju., Monitoring the occurrence and rate of corrosion, the formation of thermal oxides on the surface of metal parts of the power plant, as well as the method of their elimination in a way that is technologically suitable, economically affordable and environmentally justified is shown in this technical solution. It has been established that the metal elements affected by corrosion were made from stainless steel AISI 304. Accordingly, the occurrence of corrosion and thermal oxides was monitored based on the material and the composition of the dust with which the metal parts are in contact. The emergence of thermal oxides on the surface of stainless steels is a consequence of the elevated temperature at the welding site.
The pH value of both solutions was measured: standard and saturated solution of dust from the plant. The composition of the dust samples was determined by FTIR. The other tests were defined based on the ions present in the solution.
The corrosion potential, the value of the polarization resistance, as well as the corrosion current density were determined. All tests of stainless steel in the standard solution and in the saturated solution of dust were performed for one hour within a span of 25 days.
Technological recommendations on how to eliminate corrosion and thermal oxides are provided.
The solution has been applied since January 2021 by ELNOS BL d.o.o.",
publisher = "Belgrade : University of Belgrade - Institute of Chemistry, Technology and Metallurgy",
title = "Ispitivanje i otklanјanјe pojave korozije i termičkih oksida na metalnim delovima elektroenergetskog postojenja, Possibility of removal of corrosion and thermal oxides on metal parts of electric power plant",
url = "https://hdl.handle.net/21.15107/rcub_dais_11630"
}
Mihailović, M., Jegdić, B., Jugović, B., Kovačina, J., Radojković, B., Patarić, A.,& Jokić, B.. (2021). Ispitivanje i otklanјanјe pojave korozije i termičkih oksida na metalnim delovima elektroenergetskog postojenja. 
Belgrade : University of Belgrade - Institute of Chemistry, Technology and Metallurgy..
https://hdl.handle.net/21.15107/rcub_dais_11630
Mihailović M, Jegdić B, Jugović B, Kovačina J, Radojković B, Patarić A, Jokić B. Ispitivanje i otklanјanјe pojave korozije i termičkih oksida na metalnim delovima elektroenergetskog postojenja. 2021;.
https://hdl.handle.net/21.15107/rcub_dais_11630 .
Mihailović, Marija, Jegdić, Bore, Jugović, Branimir, Kovačina, Jovanka, Radojković, Bojana, Patarić, Aleksandra, Jokić, Bojan, "Ispitivanje i otklanјanјe pojave korozije i termičkih oksida na metalnim delovima elektroenergetskog postojenja" (2021),
https://hdl.handle.net/21.15107/rcub_dais_11630 .

Cytotoxicity of amorphous calcium phosphate multifunctional composite coatings on titanium obtained by in situ anodization/anaphoretic deposition

Pantović-Pavlović, Marijana; Pavlović, Miroslav; Kovačina, Jovanka; Stanojević, Boris; Stevanović, Jasmina; Panić, Vladimir; Ignjatović, Nenad

(Belgrade : Serbian Chemical Society, 2021)

TY  - JOUR
AU  - Pantović-Pavlović, Marijana
AU  - Pavlović, Miroslav
AU  - Kovačina, Jovanka
AU  - Stanojević, Boris
AU  - Stevanović, Jasmina
AU  - Panić, Vladimir
AU  - Ignjatović, Nenad
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/11738
AB  - The cytotoxicity of amorphous calcium phosphate (ACP) and chitosan lactate (ChOL) multifunctional and hybrid composite coatings on MRC-5 human lung fibroblast cell line was elucidated. ACP/TiO2 and ACP/TiO2/ /ChOL were deposited onto Ti by a novel in situ anodization/anaphoretic process at constant voltage. Cytotoxicity tests showed that there was no significant decrease in the survival of healthy MRC-5 cells exposed to composite samples without chitosan lactate, while there was an increase in the number of viable cells in the sample containing ChOL. These findings show that there was improved cell proliferation, differentiation and cell viability in the ChOL-containing sample, which makes ACP/TiO2/ChOL coating a good candidate for applications in medicine and stomatology.
PB  - Belgrade : Serbian Chemical Society
T2  - Journal of the Serbian Chemical Society
T1  - Cytotoxicity of amorphous calcium phosphate multifunctional composite coatings on titanium obtained by in situ anodization/anaphoretic deposition
SP  - 555
EP  - 559
VL  - 86
IS  - 6
DO  - 10.2298/JSC210211024P
UR  - https://hdl.handle.net/21.15107/rcub_dais_11738
ER  - 
@article{
author = "Pantović-Pavlović, Marijana and Pavlović, Miroslav and Kovačina, Jovanka and Stanojević, Boris and Stevanović, Jasmina and Panić, Vladimir and Ignjatović, Nenad",
year = "2021",
abstract = "The cytotoxicity of amorphous calcium phosphate (ACP) and chitosan lactate (ChOL) multifunctional and hybrid composite coatings on MRC-5 human lung fibroblast cell line was elucidated. ACP/TiO2 and ACP/TiO2/ /ChOL were deposited onto Ti by a novel in situ anodization/anaphoretic process at constant voltage. Cytotoxicity tests showed that there was no significant decrease in the survival of healthy MRC-5 cells exposed to composite samples without chitosan lactate, while there was an increase in the number of viable cells in the sample containing ChOL. These findings show that there was improved cell proliferation, differentiation and cell viability in the ChOL-containing sample, which makes ACP/TiO2/ChOL coating a good candidate for applications in medicine and stomatology.",
publisher = "Belgrade : Serbian Chemical Society",
journal = "Journal of the Serbian Chemical Society",
title = "Cytotoxicity of amorphous calcium phosphate multifunctional composite coatings on titanium obtained by in situ anodization/anaphoretic deposition",
pages = "555-559",
volume = "86",
number = "6",
doi = "10.2298/JSC210211024P",
url = "https://hdl.handle.net/21.15107/rcub_dais_11738"
}
Pantović-Pavlović, M., Pavlović, M., Kovačina, J., Stanojević, B., Stevanović, J., Panić, V.,& Ignjatović, N.. (2021). Cytotoxicity of amorphous calcium phosphate multifunctional composite coatings on titanium obtained by in situ anodization/anaphoretic deposition. in Journal of the Serbian Chemical Society
Belgrade : Serbian Chemical Society., 86(6), 555-559.
https://doi.org/10.2298/JSC210211024P
https://hdl.handle.net/21.15107/rcub_dais_11738
Pantović-Pavlović M, Pavlović M, Kovačina J, Stanojević B, Stevanović J, Panić V, Ignjatović N. Cytotoxicity of amorphous calcium phosphate multifunctional composite coatings on titanium obtained by in situ anodization/anaphoretic deposition. in Journal of the Serbian Chemical Society. 2021;86(6):555-559.
doi:10.2298/JSC210211024P
https://hdl.handle.net/21.15107/rcub_dais_11738 .
Pantović-Pavlović, Marijana, Pavlović, Miroslav, Kovačina, Jovanka, Stanojević, Boris, Stevanović, Jasmina, Panić, Vladimir, Ignjatović, Nenad, "Cytotoxicity of amorphous calcium phosphate multifunctional composite coatings on titanium obtained by in situ anodization/anaphoretic deposition" in Journal of the Serbian Chemical Society, 86, no. 6 (2021):555-559,
https://doi.org/10.2298/JSC210211024P .,
https://hdl.handle.net/21.15107/rcub_dais_11738 .
1
1
1

Decreasing the implementation costs of smart metering systems with interoperability

Vujasinović, Jovan; Savić, Goran; Batas-Bjelić, Ilija; Rajaković, Nikola

(Institute of Electrical and Electronics Engineers (IEEE), 2021)

TY  - CONF
AU  - Vujasinović, Jovan
AU  - Savić, Goran
AU  - Batas-Bjelić, Ilija
AU  - Rajaković, Nikola
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12247
AB  - This paper describes the importance of the interoperability in smart metering systems for modern distribution system operators. The lack of interoperability significantly increases the costs of smart metering system implementation for distribution system operators, especially the costs of purchasing new equipment. The replacement, cleanup and maintenance of electricity meters produced by different manufacturers, which are not interoperable, are also much more complex and expensive. Furthermore, without the interoperability, the system cannot be observable, i.e. the observability exists only for some particular segments of the system. This prevents many functionalities of distribution management system. In terms of interoperability, smart metering systems have gone through four different stages. A comparison of the system implementation costs for these four stages is presented for distribution system operator of Serbia.
PB  - Institute of Electrical and Electronics Engineers (IEEE)
C3  - 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT)
T1  - Decreasing the implementation costs of smart metering systems with interoperability
SP  - 370
EP  - 373
DO  - 10.1109/MetroInd4.0IoT51437.2021.9488512
UR  - https://hdl.handle.net/21.15107/rcub_dais_12247
ER  - 
@conference{
author = "Vujasinović, Jovan and Savić, Goran and Batas-Bjelić, Ilija and Rajaković, Nikola",
year = "2021",
abstract = "This paper describes the importance of the interoperability in smart metering systems for modern distribution system operators. The lack of interoperability significantly increases the costs of smart metering system implementation for distribution system operators, especially the costs of purchasing new equipment. The replacement, cleanup and maintenance of electricity meters produced by different manufacturers, which are not interoperable, are also much more complex and expensive. Furthermore, without the interoperability, the system cannot be observable, i.e. the observability exists only for some particular segments of the system. This prevents many functionalities of distribution management system. In terms of interoperability, smart metering systems have gone through four different stages. A comparison of the system implementation costs for these four stages is presented for distribution system operator of Serbia.",
publisher = "Institute of Electrical and Electronics Engineers (IEEE)",
journal = "2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT)",
title = "Decreasing the implementation costs of smart metering systems with interoperability",
pages = "370-373",
doi = "10.1109/MetroInd4.0IoT51437.2021.9488512",
url = "https://hdl.handle.net/21.15107/rcub_dais_12247"
}
Vujasinović, J., Savić, G., Batas-Bjelić, I.,& Rajaković, N.. (2021). Decreasing the implementation costs of smart metering systems with interoperability. in 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT)
Institute of Electrical and Electronics Engineers (IEEE)., 370-373.
https://doi.org/10.1109/MetroInd4.0IoT51437.2021.9488512
https://hdl.handle.net/21.15107/rcub_dais_12247
Vujasinović J, Savić G, Batas-Bjelić I, Rajaković N. Decreasing the implementation costs of smart metering systems with interoperability. in 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT). 2021;:370-373.
doi:10.1109/MetroInd4.0IoT51437.2021.9488512
https://hdl.handle.net/21.15107/rcub_dais_12247 .
Vujasinović, Jovan, Savić, Goran, Batas-Bjelić, Ilija, Rajaković, Nikola, "Decreasing the implementation costs of smart metering systems with interoperability" in 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT) (2021):370-373,
https://doi.org/10.1109/MetroInd4.0IoT51437.2021.9488512 .,
https://hdl.handle.net/21.15107/rcub_dais_12247 .

Decreasing the implementation costs of smart metering systems with interoperability

Vujasinović, Jovan; Savić, Goran; Batas-Bjelić, Ilija; Rajaković, Nikola

(Institute of Electrical and Electronics Engineers (IEEE), 2021)

TY  - CONF
AU  - Vujasinović, Jovan
AU  - Savić, Goran
AU  - Batas-Bjelić, Ilija
AU  - Rajaković, Nikola
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12246
AB  - This paper describes the importance of the interoperability in smart metering systems for modern distribution system operators. The lack of interoperability significantly increases the costs of smart metering system implementation for distribution system operators, especially the costs of purchasing new equipment. The replacement, cleanup and maintenance of electricity meters produced by different manufacturers, which are not interoperable, are also much more complex and expensive. Furthermore, without the interoperability, the system cannot be observable, i.e. the observability exists only for some particular segments of the system. This prevents many functionalities of distribution management system. In terms of interoperability, smart metering systems have gone through four different stages. A comparison of the system implementation costs for these four stages is presented for distribution system operator of Serbia.
PB  - Institute of Electrical and Electronics Engineers (IEEE)
C3  - 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT)
T1  - Decreasing the implementation costs of smart metering systems with interoperability
SP  - 370
EP  - 373
DO  - 10.1109/MetroInd4.0IoT51437.2021.9488512
UR  - https://hdl.handle.net/21.15107/rcub_dais_12246
ER  - 
@conference{
author = "Vujasinović, Jovan and Savić, Goran and Batas-Bjelić, Ilija and Rajaković, Nikola",
year = "2021",
abstract = "This paper describes the importance of the interoperability in smart metering systems for modern distribution system operators. The lack of interoperability significantly increases the costs of smart metering system implementation for distribution system operators, especially the costs of purchasing new equipment. The replacement, cleanup and maintenance of electricity meters produced by different manufacturers, which are not interoperable, are also much more complex and expensive. Furthermore, without the interoperability, the system cannot be observable, i.e. the observability exists only for some particular segments of the system. This prevents many functionalities of distribution management system. In terms of interoperability, smart metering systems have gone through four different stages. A comparison of the system implementation costs for these four stages is presented for distribution system operator of Serbia.",
publisher = "Institute of Electrical and Electronics Engineers (IEEE)",
journal = "2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT)",
title = "Decreasing the implementation costs of smart metering systems with interoperability",
pages = "370-373",
doi = "10.1109/MetroInd4.0IoT51437.2021.9488512",
url = "https://hdl.handle.net/21.15107/rcub_dais_12246"
}
Vujasinović, J., Savić, G., Batas-Bjelić, I.,& Rajaković, N.. (2021). Decreasing the implementation costs of smart metering systems with interoperability. in 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT)
Institute of Electrical and Electronics Engineers (IEEE)., 370-373.
https://doi.org/10.1109/MetroInd4.0IoT51437.2021.9488512
https://hdl.handle.net/21.15107/rcub_dais_12246
Vujasinović J, Savić G, Batas-Bjelić I, Rajaković N. Decreasing the implementation costs of smart metering systems with interoperability. in 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT). 2021;:370-373.
doi:10.1109/MetroInd4.0IoT51437.2021.9488512
https://hdl.handle.net/21.15107/rcub_dais_12246 .
Vujasinović, Jovan, Savić, Goran, Batas-Bjelić, Ilija, Rajaković, Nikola, "Decreasing the implementation costs of smart metering systems with interoperability" in 2021 IEEE International Workshop on Metrology for Industry 4.0 & IoT (MetroInd4.0&IoT) (2021):370-373,
https://doi.org/10.1109/MetroInd4.0IoT51437.2021.9488512 .,
https://hdl.handle.net/21.15107/rcub_dais_12246 .

Supplementary information for the article: Djinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G., & Traxler, H. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. Hearing Research, 410, 108351. https://doi.org/10.1016/j.heares.2021.108351

Đinović, Zoran; Pavelka, Robert; Tomić, Miloš; Sprinzl, Georg; Müller, Julia Gertrud; Traxler, Hannes

(Elsevier BV, 2021)

TY  - DATA
AU  - Đinović, Zoran
AU  - Pavelka, Robert
AU  - Tomić, Miloš
AU  - Sprinzl, Georg
AU  - Müller, Julia Gertrud
AU  - Traxler, Hannes
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12260
AB  - In the supplement, a few audio records in a time duration of about 1-3 min, which are acquired during experiments performed on skull head #7587, are given. The signals have been on-line processed by TIFOS system and recorded by an HP notebook audiocard without any frequency equalizing. The sound pressure level was measured by Bruel & Kjaer 2250 sound meter (dBA, slow). The sound of piano and violin in Schubert’s Rondo in Fig. S1a are of high fidelity. High frequency tones in the aria from “La-Traviata” performed by famous Russian-Austrian operatic soprano Anna Netrebko (Fig. S1d) are also very clear and dynamic. The famous speech of Martin Luther King (Fig. S1b) is completely intelligible, as well as the resignation speech of former British prime minister Theresa May (Fig. S1c). The individual characteristics of the well-known voices are easily recognizable.
PB  - Elsevier BV
T2  - Hearing Research
T1  - Supplementary information for the article: Djinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G., & Traxler, H. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. Hearing Research, 410, 108351. https://doi.org/10.1016/j.heares.2021.108351
VL  - 410
ER  - 
@misc{
author = "Đinović, Zoran and Pavelka, Robert and Tomić, Miloš and Sprinzl, Georg and Müller, Julia Gertrud and Traxler, Hannes",
year = "2021",
abstract = "In the supplement, a few audio records in a time duration of about 1-3 min, which are acquired during experiments performed on skull head #7587, are given. The signals have been on-line processed by TIFOS system and recorded by an HP notebook audiocard without any frequency equalizing. The sound pressure level was measured by Bruel & Kjaer 2250 sound meter (dBA, slow). The sound of piano and violin in Schubert’s Rondo in Fig. S1a are of high fidelity. High frequency tones in the aria from “La-Traviata” performed by famous Russian-Austrian operatic soprano Anna Netrebko (Fig. S1d) are also very clear and dynamic. The famous speech of Martin Luther King (Fig. S1b) is completely intelligible, as well as the resignation speech of former British prime minister Theresa May (Fig. S1c). The individual characteristics of the well-known voices are easily recognizable.",
publisher = "Elsevier BV",
journal = "Hearing Research",
title = "Supplementary information for the article: Djinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G., & Traxler, H. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. Hearing Research, 410, 108351. https://doi.org/10.1016/j.heares.2021.108351",
volume = "410"
}
Đinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G.,& Traxler, H.. (2021). Supplementary information for the article: Djinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G., & Traxler, H. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. Hearing Research, 410, 108351. https://doi.org/10.1016/j.heares.2021.108351. in Hearing Research
Elsevier BV., 410.
Đinović Z, Pavelka R, Tomić M, Sprinzl G, Müller JG, Traxler H. Supplementary information for the article: Djinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G., & Traxler, H. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. Hearing Research, 410, 108351. https://doi.org/10.1016/j.heares.2021.108351. in Hearing Research. 2021;410..
Đinović, Zoran, Pavelka, Robert, Tomić, Miloš, Sprinzl, Georg, Müller, Julia Gertrud, Traxler, Hannes, "Supplementary information for the article: Djinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G., & Traxler, H. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. Hearing Research, 410, 108351. https://doi.org/10.1016/j.heares.2021.108351" in Hearing Research, 410 (2021).

Experimental study of an implantable fiber-optic microphone on human cadavers

Đinović, Zoran; Pavelka, Robert; Tomić, Miloš; Sprinzl, Georg; Müller, Julia Gertrud; Traxler, Hannes

(Elsevier BV, 2021)

TY  - JOUR
AU  - Đinović, Zoran
AU  - Pavelka, Robert
AU  - Tomić, Miloš
AU  - Sprinzl, Georg
AU  - Müller, Julia Gertrud
AU  - Traxler, Hannes
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12259
AB  - In this paper, we present the results of an experimental study about a novel fiber optical vibrometer, aimed to be used as a totally implantable fiber-optic microphone for hearing aids. The sensor head, implanted inside the human cadaver middle ear, detects the amplitude of the incus vibrations, which are produced by an external acoustical source. The probe beam of coherent vertical cavity surface emitting laser (VCSEL) radiation is directed to the incus and the phase-modulated reflected beam is captured and demodulated. The problem of interferometric fading was solved using two quasi-quadrature signals, passively produced by the 3 × 3 single-mode fiber-optic coupler, processed by a special embedded algorithm. The implanted optoelectronic module works with very low-power consumption, performs real-time signal processing and outputs an analogue signal proportional to the incus vibration. The amplitude of the incus vibrations at different sound pressure levels (SPL) from 40 to 90 dB and at frequencies from 100 Hz to 10 kHz were measured by the implanted system. The system was evaluated on five cadaver skulls. The measured amplitudes were in the range of 1 pm to 5 nm, depending on the subjected skull and the applied sound pressure.
PB  - Elsevier BV
T2  - Hearing Research
T1  - Experimental study of an implantable fiber-optic microphone on human cadavers
SP  - 108351
SP  - 108351
VL  - 410
DO  - 10.1016/j.heares.2021.108351
ER  - 
@article{
author = "Đinović, Zoran and Pavelka, Robert and Tomić, Miloš and Sprinzl, Georg and Müller, Julia Gertrud and Traxler, Hannes",
year = "2021",
abstract = "In this paper, we present the results of an experimental study about a novel fiber optical vibrometer, aimed to be used as a totally implantable fiber-optic microphone for hearing aids. The sensor head, implanted inside the human cadaver middle ear, detects the amplitude of the incus vibrations, which are produced by an external acoustical source. The probe beam of coherent vertical cavity surface emitting laser (VCSEL) radiation is directed to the incus and the phase-modulated reflected beam is captured and demodulated. The problem of interferometric fading was solved using two quasi-quadrature signals, passively produced by the 3 × 3 single-mode fiber-optic coupler, processed by a special embedded algorithm. The implanted optoelectronic module works with very low-power consumption, performs real-time signal processing and outputs an analogue signal proportional to the incus vibration. The amplitude of the incus vibrations at different sound pressure levels (SPL) from 40 to 90 dB and at frequencies from 100 Hz to 10 kHz were measured by the implanted system. The system was evaluated on five cadaver skulls. The measured amplitudes were in the range of 1 pm to 5 nm, depending on the subjected skull and the applied sound pressure.",
publisher = "Elsevier BV",
journal = "Hearing Research",
title = "Experimental study of an implantable fiber-optic microphone on human cadavers",
pages = "108351-108351",
volume = "410",
doi = "10.1016/j.heares.2021.108351"
}
Đinović, Z., Pavelka, R., Tomić, M., Sprinzl, G., Müller, J. G.,& Traxler, H.. (2021). Experimental study of an implantable fiber-optic microphone on human cadavers. in Hearing Research
Elsevier BV., 410, 108351.
https://doi.org/10.1016/j.heares.2021.108351
Đinović Z, Pavelka R, Tomić M, Sprinzl G, Müller JG, Traxler H. Experimental study of an implantable fiber-optic microphone on human cadavers. in Hearing Research. 2021;410:108351.
doi:10.1016/j.heares.2021.108351 .
Đinović, Zoran, Pavelka, Robert, Tomić, Miloš, Sprinzl, Georg, Müller, Julia Gertrud, Traxler, Hannes, "Experimental study of an implantable fiber-optic microphone on human cadavers" in Hearing Research, 410 (2021):108351,
https://doi.org/10.1016/j.heares.2021.108351 . .
1

Гласник Етнографског института САНУ 69 (3) / Bulletin of the Institute of Ethnography SASA 69 (3)

(Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA, 2021)

TY  - GEN
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12258
PB  - Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA
T1  - Гласник Етнографског института САНУ 69 (3) / Bulletin of the Institute of Ethnography SASA 69 (3)
SP  - 513
EP  - 748
VL  - 69
IS  - 3
ER  - 
@misc{
year = "2021",
publisher = "Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA",
title = "Гласник Етнографског института САНУ 69 (3) / Bulletin of the Institute of Ethnography SASA 69 (3)",
pages = "513-748",
volume = "69",
number = "3"
}
(2021). Гласник Етнографског института САНУ 69 (3) / Bulletin of the Institute of Ethnography SASA 69 (3). 
Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA., 69(3), 513-748.
Гласник Етнографског института САНУ 69 (3) / Bulletin of the Institute of Ethnography SASA 69 (3). 2021;69(3):513-748..
"Гласник Етнографског института САНУ 69 (3) / Bulletin of the Institute of Ethnography SASA 69 (3)", 69, no. 3 (2021):513-748.

О концепту гостопримство у српском и француском језику

Димитријевић, Јована Љ.; Васиљевић, Анђела Д.

(Крагујевац : Филолошко-уметнички факултет, 2021)

TY  - JOUR
AU  - Димитријевић, Јована Љ.
AU  - Васиљевић, Анђела Д.
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12243
AB  - Le présent travail propose une analyse contrastive, linguistique et culturelle du concept d’hospitalité
en serbe et en français. Le but principal consiste à analyser le matériel extrait des dictionnaires descriptifs et
phraséologiques des deux langues, ainsi que des proverbes populaires de Vuk S. Karadžić, afin de déceler les
similitudes et / ou les différences existant dans la représentation linguistique du concept donné dans les deux
cultures. En outre, cette analyse porte sur l’attitude conventionnelle à l’égard du concept d’hospitalité et, en
particulier, sur son marquage positif ou négatif. Ainsi, correspondances et écarts seront pris en considération,
tout en insistant sur des liens de nature historique, formelle, sémantique et culturelle. Le concept d’hospitalité
étant l’un des concepts civilisationnels les plus importants, qui s’exprime au niveau lexical, tout comme
aux niveaux phraséologique et parémiologique, il est très probable que ces deux langues sont dotées des
représentations mentales similaires, voire identiques. La partie principale de notre travail est consacrée à
l’analyse componentielle et contrastive du lexème serbe gost, ainsi qu’à l’analyse de son cognat et équivalent
(partiel) français hôte. Afin de vérifier nos hypothèses de départ, nous consultons plusieurs dictionnaires
monolingues et bilingues, de type général et spécifique, sans oublier les résultats des recherches antérieures à
propos de différents aspects du concept d’hospitalité sur les plans linguistique et culturel.
AB  - Рад се базира на контрастивној лингвокултуролошкој анализи концепта
гостопримство у српском и француском језику. Циљ је да се анализом грађе
ексцерпиране из савремених описних и фразеолошких (једнојезичних и двојезичних)
речника српског и француског језика, као и Вукових Српских народних пословица,
уоче сличности, различитости или заједничке црте језичке представе датог концепта у
двема традицијама. Питање које се разматра тиче се и конвенционалног односа према
појму гостопримство, те његовој позитивној или негативној маркираности у језичкој
слици ових народа. Сходно томе, посматраће се кореспонденције и одступања, као и
историјске, обличке, семантичке и културолошке споне у концептима двају језика и двеју
култура. Концепт гостопримство представља један од важнијих интернационалних
цивилизацијских концепата, који се изражава како на лексичком, тако и на фразеолошко-
паремиолошком нивоу. Кључни појам у концепту гостопримство припада лексеми гост,
односно францускoj лексеми hôte. У обзир су узета и досадашња сагледавања другачијих
аспеката овог феномена у српском језику (нпр. у радовима Д. Мршевић Радовић, Т.
Милосављевић, Р. Вуксановић).
PB  - Крагујевац : Филолошко-уметнички факултет
T2  - Савремена проучавања језика и књижевности : зборник радова са XII научног скупа младих филолога Србије, одржаног 26. септембра 2020. године године на Филолошко-уметничком факултету у Крагујевцу. Књ. 1
T1  - О концепту гостопримство у српском и француском језику
T1  - À propos du concept d’hospitalité en serbe et en français
SP  - 99
EP  - 113
UR  - https://hdl.handle.net/21.15107/rcub_dais_12243
ER  - 
@article{
author = "Димитријевић, Јована Љ. and Васиљевић, Анђела Д.",
year = "2021",
abstract = "Le présent travail propose une analyse contrastive, linguistique et culturelle du concept d’hospitalité
en serbe et en français. Le but principal consiste à analyser le matériel extrait des dictionnaires descriptifs et
phraséologiques des deux langues, ainsi que des proverbes populaires de Vuk S. Karadžić, afin de déceler les
similitudes et / ou les différences existant dans la représentation linguistique du concept donné dans les deux
cultures. En outre, cette analyse porte sur l’attitude conventionnelle à l’égard du concept d’hospitalité et, en
particulier, sur son marquage positif ou négatif. Ainsi, correspondances et écarts seront pris en considération,
tout en insistant sur des liens de nature historique, formelle, sémantique et culturelle. Le concept d’hospitalité
étant l’un des concepts civilisationnels les plus importants, qui s’exprime au niveau lexical, tout comme
aux niveaux phraséologique et parémiologique, il est très probable que ces deux langues sont dotées des
représentations mentales similaires, voire identiques. La partie principale de notre travail est consacrée à
l’analyse componentielle et contrastive du lexème serbe gost, ainsi qu’à l’analyse de son cognat et équivalent
(partiel) français hôte. Afin de vérifier nos hypothèses de départ, nous consultons plusieurs dictionnaires
monolingues et bilingues, de type général et spécifique, sans oublier les résultats des recherches antérieures à
propos de différents aspects du concept d’hospitalité sur les plans linguistique et culturel., Рад се базира на контрастивној лингвокултуролошкој анализи концепта
гостопримство у српском и француском језику. Циљ је да се анализом грађе
ексцерпиране из савремених описних и фразеолошких (једнојезичних и двојезичних)
речника српског и француског језика, као и Вукових Српских народних пословица,
уоче сличности, различитости или заједничке црте језичке представе датог концепта у
двема традицијама. Питање које се разматра тиче се и конвенционалног односа према
појму гостопримство, те његовој позитивној или негативној маркираности у језичкој
слици ових народа. Сходно томе, посматраће се кореспонденције и одступања, као и
историјске, обличке, семантичке и културолошке споне у концептима двају језика и двеју
култура. Концепт гостопримство представља један од важнијих интернационалних
цивилизацијских концепата, који се изражава како на лексичком, тако и на фразеолошко-
паремиолошком нивоу. Кључни појам у концепту гостопримство припада лексеми гост,
односно францускoj лексеми hôte. У обзир су узета и досадашња сагледавања другачијих
аспеката овог феномена у српском језику (нпр. у радовима Д. Мршевић Радовић, Т.
Милосављевић, Р. Вуксановић).",
publisher = "Крагујевац : Филолошко-уметнички факултет",
journal = "Савремена проучавања језика и књижевности : зборник радова са XII научног скупа младих филолога Србије, одржаног 26. септембра 2020. године године на Филолошко-уметничком факултету у Крагујевцу. Књ. 1",
title = "О концепту гостопримство у српском и француском језику, À propos du concept d’hospitalité en serbe et en français",
pages = "99-113",
url = "https://hdl.handle.net/21.15107/rcub_dais_12243"
}
Димитријевић, Ј. Љ.,& Васиљевић, А. Д.. (2021). О концепту гостопримство у српском и француском језику. in Савремена проучавања језика и књижевности : зборник радова са XII научног скупа младих филолога Србије, одржаног 26. септембра 2020. године године на Филолошко-уметничком факултету у Крагујевцу. Књ. 1
Крагујевац : Филолошко-уметнички факултет., 99-113.
https://hdl.handle.net/21.15107/rcub_dais_12243
Димитријевић ЈЉ, Васиљевић АД. О концепту гостопримство у српском и француском језику. in Савремена проучавања језика и књижевности : зборник радова са XII научног скупа младих филолога Србије, одржаног 26. септембра 2020. године године на Филолошко-уметничком факултету у Крагујевцу. Књ. 1. 2021;:99-113.
https://hdl.handle.net/21.15107/rcub_dais_12243 .
Димитријевић, Јована Љ., Васиљевић, Анђела Д., "О концепту гостопримство у српском и француском језику" in Савремена проучавања језика и књижевности : зборник радова са XII научног скупа младих филолога Србије, одржаног 26. септембра 2020. године године на Филолошко-уметничком факултету у Крагујевцу. Књ. 1 (2021):99-113,
https://hdl.handle.net/21.15107/rcub_dais_12243 .

Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming

Stratimirović, Đorđe; Batas-Bjelić, Ilija; Đurđevic, Vladimir; Blešić, Suzana

(Elsevier BV, 2021)

TY  - JOUR
AU  - Stratimirović, Đorđe
AU  - Batas-Bjelić, Ilija
AU  - Đurđevic, Vladimir
AU  - Blešić, Suzana
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/11681
AB  - In this paper we assessed changes in scaling properties of the river Danube level and flow data, associated with building of Djerdap/Iron Gates hydrological power plants positioned on the border of Romania and Serbia. We used detrended fluctuation analysis (DFA), wavelet transform spectral analysis (WTS) and wavelet modulus maxima method (WTMM) to investigate time series of measurements from hydrological stations in the vicinity of dams and in the area of up to 480 km upstream from dams, and time series of simulated NOAA-CIRES 20th Century Global Reanalysis precipitation data for the Djerdap/Iron Gates region. By comparing river dynamics during the periods before and after construction of dams, we were able to register changes in scaling that are different for recordings from upstream and from downstream (from dams) areas. We found that damming caused appearance of human-made or enhancement of natural cycles in the small time scales region, which largely influenced the change in temporal scaling in downstream recording stations. We additionally found disappearance or decline in the amplitude of large-time-scale cycles as a result of damming, which changed the dynamics of upstream data. The most prominent finding of our paper is a demonstration of a complete or partial loss of annual cycles in the upstream stations’ data that stems from the operation of the artificial water reservoir and extends as far as 220 km from dams. We discussed probable sources of such found changes in scaling, aiming to provide explanations that could be of use in future environmental assessments.
PB  - Elsevier BV
T2  - Physica A: Statistical Mechanics and its Applications
T1  - Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming
SP  - 125607
VL  - 566
DO  - 10.1016/j.physa.2020.125607
UR  - https://hdl.handle.net/21.15107/rcub_dais_11681
ER  - 
@article{
author = "Stratimirović, Đorđe and Batas-Bjelić, Ilija and Đurđevic, Vladimir and Blešić, Suzana",
year = "2021",
abstract = "In this paper we assessed changes in scaling properties of the river Danube level and flow data, associated with building of Djerdap/Iron Gates hydrological power plants positioned on the border of Romania and Serbia. We used detrended fluctuation analysis (DFA), wavelet transform spectral analysis (WTS) and wavelet modulus maxima method (WTMM) to investigate time series of measurements from hydrological stations in the vicinity of dams and in the area of up to 480 km upstream from dams, and time series of simulated NOAA-CIRES 20th Century Global Reanalysis precipitation data for the Djerdap/Iron Gates region. By comparing river dynamics during the periods before and after construction of dams, we were able to register changes in scaling that are different for recordings from upstream and from downstream (from dams) areas. We found that damming caused appearance of human-made or enhancement of natural cycles in the small time scales region, which largely influenced the change in temporal scaling in downstream recording stations. We additionally found disappearance or decline in the amplitude of large-time-scale cycles as a result of damming, which changed the dynamics of upstream data. The most prominent finding of our paper is a demonstration of a complete or partial loss of annual cycles in the upstream stations’ data that stems from the operation of the artificial water reservoir and extends as far as 220 km from dams. We discussed probable sources of such found changes in scaling, aiming to provide explanations that could be of use in future environmental assessments.",
publisher = "Elsevier BV",
journal = "Physica A: Statistical Mechanics and its Applications",
title = "Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming",
pages = "125607",
volume = "566",
doi = "10.1016/j.physa.2020.125607",
url = "https://hdl.handle.net/21.15107/rcub_dais_11681"
}
Stratimirović, Đ., Batas-Bjelić, I., Đurđevic, V.,& Blešić, S.. (2021). Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming. in Physica A: Statistical Mechanics and its Applications
Elsevier BV., 566, 125607.
https://doi.org/10.1016/j.physa.2020.125607
https://hdl.handle.net/21.15107/rcub_dais_11681
Stratimirović Đ, Batas-Bjelić I, Đurđevic V, Blešić S. Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming. in Physica A: Statistical Mechanics and its Applications. 2021;566:125607.
doi:10.1016/j.physa.2020.125607
https://hdl.handle.net/21.15107/rcub_dais_11681 .
Stratimirović, Đorđe, Batas-Bjelić, Ilija, Đurđevic, Vladimir, Blešić, Suzana, "Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming" in Physica A: Statistical Mechanics and its Applications, 566 (2021):125607,
https://doi.org/10.1016/j.physa.2020.125607 .,
https://hdl.handle.net/21.15107/rcub_dais_11681 .
1
1
1

Flexibility index and decreasing the costs in energy systems with high share of renewable energy

Pfeifer, Antun; Herc, Luka; Batas-Bjelić, Ilija; Duić, Neven

(Elsevier BV, 2021)

TY  - JOUR
AU  - Pfeifer, Antun
AU  - Herc, Luka
AU  - Batas-Bjelić, Ilija
AU  - Duić, Neven
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/11648
AB  - Recent European Green Deal includes decision to become carbon neutral and even carbon negative region in order to tackle the climate crisis. Main technical challenge and a key factor in techno-economic analysis of the energy system of the future, based on variable renewable energy sources, is their variable production and its integration. In order to deal with this problem in long-term energy planning, different approaches have been tried, focusing on overcapacity, storage capacities and sectors coupling with heating and transport. In this research, different flexibility options, storage and demand response technologies are modelled on a national energy systems level. With the case study area modelled in EnergyPLAN model, the goal of the research is to show how each flexibility option influences the economically feasible generation capacities of renewable energy sources, storage technologies and demand response in order to reach a certain share of renewable energy in final energy consumed. To follow the numerous possible configurations of the system, flexibility index for each option and a flexibility vector for each scenario are introduced. Results show which flexibility options play key role in important steps of energy transition to 70%, 80%, 90% and 100% RES energy system.
PB  - Elsevier BV
T2  - Energy Conversion and Management
T1  - Flexibility index and decreasing the costs in energy systems with high share of renewable energy
SP  - 114258
VL  - 240
DO  - 10.1016/j.enconman.2021.114258
UR  - https://hdl.handle.net/21.15107/rcub_dais_11648
ER  - 
@article{
author = "Pfeifer, Antun and Herc, Luka and Batas-Bjelić, Ilija and Duić, Neven",
year = "2021",
abstract = "Recent European Green Deal includes decision to become carbon neutral and even carbon negative region in order to tackle the climate crisis. Main technical challenge and a key factor in techno-economic analysis of the energy system of the future, based on variable renewable energy sources, is their variable production and its integration. In order to deal with this problem in long-term energy planning, different approaches have been tried, focusing on overcapacity, storage capacities and sectors coupling with heating and transport. In this research, different flexibility options, storage and demand response technologies are modelled on a national energy systems level. With the case study area modelled in EnergyPLAN model, the goal of the research is to show how each flexibility option influences the economically feasible generation capacities of renewable energy sources, storage technologies and demand response in order to reach a certain share of renewable energy in final energy consumed. To follow the numerous possible configurations of the system, flexibility index for each option and a flexibility vector for each scenario are introduced. Results show which flexibility options play key role in important steps of energy transition to 70%, 80%, 90% and 100% RES energy system.",
publisher = "Elsevier BV",
journal = "Energy Conversion and Management",
title = "Flexibility index and decreasing the costs in energy systems with high share of renewable energy",
pages = "114258",
volume = "240",
doi = "10.1016/j.enconman.2021.114258",
url = "https://hdl.handle.net/21.15107/rcub_dais_11648"
}
Pfeifer, A., Herc, L., Batas-Bjelić, I.,& Duić, N.. (2021). Flexibility index and decreasing the costs in energy systems with high share of renewable energy. in Energy Conversion and Management
Elsevier BV., 240, 114258.
https://doi.org/10.1016/j.enconman.2021.114258
https://hdl.handle.net/21.15107/rcub_dais_11648
Pfeifer A, Herc L, Batas-Bjelić I, Duić N. Flexibility index and decreasing the costs in energy systems with high share of renewable energy. in Energy Conversion and Management. 2021;240:114258.
doi:10.1016/j.enconman.2021.114258
https://hdl.handle.net/21.15107/rcub_dais_11648 .
Pfeifer, Antun, Herc, Luka, Batas-Bjelić, Ilija, Duić, Neven, "Flexibility index and decreasing the costs in energy systems with high share of renewable energy" in Energy Conversion and Management, 240 (2021):114258,
https://doi.org/10.1016/j.enconman.2021.114258 .,
https://hdl.handle.net/21.15107/rcub_dais_11648 .
2
5
5
6

Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming

Stratimirović, Đorđe; Batas-Bjelić, Ilija; Đurđevic, Vladimir; Blešić, Suzana

(Elsevier BV, 2021)

TY  - JOUR
AU  - Stratimirović, Đorđe
AU  - Batas-Bjelić, Ilija
AU  - Đurđevic, Vladimir
AU  - Blešić, Suzana
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/10096
AB  - In this paper we assessed changes in scaling properties of the river Danube level and flow data, associated with building of Djerdap/Iron Gates hydrological power plants positioned on the border of Romania and Serbia. We used detrended fluctuation analysis (DFA), wavelet transform spectral analysis (WTS) and wavelet modulus maxima method (WTMM) to investigate time series of measurements from hydrological stations in the vicinity of dams and in the area of up to 480 km upstream from dams, and time series of simulated NOAA-CIRES 20th Century Global Reanalysis precipitation data for the Djerdap/Iron Gates region. By comparing river dynamics during the periods before and after construction of dams, we were able to register changes in scaling that are different for recordings from upstream and from downstream (from dams) areas. We found that damming caused appearance of human-made or enhancement of natural cycles in the small time scales region, which largely influenced the change in temporal scaling in downstream recording stations. We additionally found disappearance or decline in the amplitude of large-time-scale cycles as a result of damming, which changed the dynamics of upstream data. The most prominent finding of our paper is a demonstration of a complete or partial loss of annual cycles in the upstream stations’ data that stems from the operation of the artificial water reservoir and extends as far as 220 km from dams. We discussed probable sources of such found changes in scaling, aiming to provide explanations that could be of use in future environmental assessments.
PB  - Elsevier BV
T2  - Physica A: Statistical Mechanics and its Applications
T1  - Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming
SP  - 125607
VL  - 566
DO  - 10.1016/j.physa.2020.125607
UR  - https://hdl.handle.net/21.15107/rcub_dais_10096
ER  - 
@article{
author = "Stratimirović, Đorđe and Batas-Bjelić, Ilija and Đurđevic, Vladimir and Blešić, Suzana",
year = "2021",
abstract = "In this paper we assessed changes in scaling properties of the river Danube level and flow data, associated with building of Djerdap/Iron Gates hydrological power plants positioned on the border of Romania and Serbia. We used detrended fluctuation analysis (DFA), wavelet transform spectral analysis (WTS) and wavelet modulus maxima method (WTMM) to investigate time series of measurements from hydrological stations in the vicinity of dams and in the area of up to 480 km upstream from dams, and time series of simulated NOAA-CIRES 20th Century Global Reanalysis precipitation data for the Djerdap/Iron Gates region. By comparing river dynamics during the periods before and after construction of dams, we were able to register changes in scaling that are different for recordings from upstream and from downstream (from dams) areas. We found that damming caused appearance of human-made or enhancement of natural cycles in the small time scales region, which largely influenced the change in temporal scaling in downstream recording stations. We additionally found disappearance or decline in the amplitude of large-time-scale cycles as a result of damming, which changed the dynamics of upstream data. The most prominent finding of our paper is a demonstration of a complete or partial loss of annual cycles in the upstream stations’ data that stems from the operation of the artificial water reservoir and extends as far as 220 km from dams. We discussed probable sources of such found changes in scaling, aiming to provide explanations that could be of use in future environmental assessments.",
publisher = "Elsevier BV",
journal = "Physica A: Statistical Mechanics and its Applications",
title = "Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming",
pages = "125607",
volume = "566",
doi = "10.1016/j.physa.2020.125607",
url = "https://hdl.handle.net/21.15107/rcub_dais_10096"
}
Stratimirović, Đ., Batas-Bjelić, I., Đurđevic, V.,& Blešić, S.. (2021). Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming. in Physica A: Statistical Mechanics and its Applications
Elsevier BV., 566, 125607.
https://doi.org/10.1016/j.physa.2020.125607
https://hdl.handle.net/21.15107/rcub_dais_10096
Stratimirović Đ, Batas-Bjelić I, Đurđevic V, Blešić S. Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming. in Physica A: Statistical Mechanics and its Applications. 2021;566:125607.
doi:10.1016/j.physa.2020.125607
https://hdl.handle.net/21.15107/rcub_dais_10096 .
Stratimirović, Đorđe, Batas-Bjelić, Ilija, Đurđevic, Vladimir, Blešić, Suzana, "Changes in long-term properties and natural cycles of the Danube river level and flow induced by damming" in Physica A: Statistical Mechanics and its Applications, 566 (2021):125607,
https://doi.org/10.1016/j.physa.2020.125607 .,
https://hdl.handle.net/21.15107/rcub_dais_10096 .
1
1
1

Десанка Максимовић (1898 –1993)

Вранеш, Александра

(Београд : Српска академија наука и уметности, 2021)

TY  - CONF
AU  - Вранеш, Александра
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12228
AB  - Десанка Максимовић (Рабровица, 16. мај 1898 – Београд, 11. фебруар 1993)
истакнута је српска књижевница, песникиња, културни посленик. Више
пута је награђивана високим признањима за свој књижевни рад, педаго-
шки допринос, културно и друштвено ангажовање, међу којима су: Октобарска
награда Крагујевца за Крваву бајку (1963); Седмојулска награда
(1964); Награда АВНОЈ -а (1970); Вукова награда (1974); Змајева награда Ма-
тице српске за 1973. годину за књигу Немам више времена (1974); Плакета
САНУ за велике заслуге у стварању и ширењу песничке речи (1974); На-
града за животно дело Удружења књижевника Србије (1984); Његошева
награда (1984); Велика плакета Универзитета у Београду и Филолошког
факултета, за дугогодишње делање у културном и књижевном животу
Србије (1988); Златни венац Струшких вечери поезије (1988). За Нобелову
награду номинована је три пута.
Десанка Максимовић је 17. 12. 1959. изабрана за дописног члана САНУ ,
а за њеног редовног члана 16. 12. 1965. Приступна беседа редовног члана
Десанке Максимовић биле су три песме из збирке Тражим помиловање
(Свечани скуп, 28. април 1966). Као члан САНУ Десанка је била референт
за изборе преко дванаест чланова САНУ међу књижевницима и научни-
цима из земље и иностранства. Године 1982. одређена је у име Академије
за члана Одбора Вуковог сабора. За дописног члана Словеначке академије
наука и уметности изабрана је 1969. године. Војвођанска академија наука
и уметности изабрала ју је 1991. за свог члана ван редовног састава.
AB  - Desanka Maksimović (Rabrovica, 16 May 1898 – Belgrade, 11 February 1993) was a
prominent Serbian writer, poet and cultural worker. She attended primary school in
Brankovina and Valjevo (1906–1910), and high school in Valjevo (1910–1919). She worked
as a temporary teacher at the Private High School in Obrenovac, while still a student
(1922–1923), as a substitute teacher at the Third Girls’ Grammar School in Belgrade
(1923, 1926–1928), substitute teacher at the Teachers College in Dubrovnik (1925–1926),
as a full time teacher at the First Gymnasium for Girls in Belgrade (1928–1941) and the
Girls’ Grammar School in Bitoljska Street in Belgrade (1945). She was also the editor
of the journal Književnost (Literature) and a professional writer at the Department of
Science, Art and Culture at the Ministry of Education (1946).
On 17 December 1959, Desanka Maksimović was elected a corresponding
member of the Serbian Academy of Sciences and Arts and became a full member on
16 December 1965. Her accession speech delivered on the occasion of being admitted as
full member consisted of three poems from her collection Tražim pomilovanje (I Seek
Clemency) (Ceremonial Session, 28 April 1966). As a member of the Academy, Desanka
Maksimović was in charge of the election of more than twelve corresponding and full
Academy members from Serbia and abroad, mainly writers. In 1982 she was appointed
as a member of the Vukov sabor Board by the Academy. She became a corresponding
member of the Slovenian Academy of Sciences and Arts in 1969. The Vojvodina Academy
of Sciences and Arts elected her an honorary member in 1991.
The poetry of Desanka Maksimović is characterized by stylistic clarity, immediacy
and spiritual curiosity. Her works were influenced by folk literature, Serbian Romantics,
French and Russian literature and Eastern Orthodoxy. To the question posed by a
journalist of Politika “What is the strength of Orthodoxy that others fear?”, the poet
responded: “God and non-hatred.” (Desanka 1992:15). Compassion and generosity of
spirit towards human fellow-sufferers, her perennial concern for people, give readers
faith and hope for a better life and inspire them with optimism.
The topicality and vigor of problems, a humanist vision of an anticipated future
(Oslobođenje Cvete Andrić [ The Liberation of Cveta Andrić]), a harrowing account
(Krvava bajka [ A Bloody Fairy Tale]), earnest enthusiasm for achievements and a
victorious spirit (Otadžbina u prvomajskoj povorci [Fatherland in a May Day Parade),
an ode to freedom (Otadžbino, tu sam [Fatherland, I am here]), a strong and exciting
humanity (Govori tiho [Speak Softly]), these are the hallmarks of her social and patriotic
poetry.
The subtlety of emotions, grace of intonation, reflective optimism and meticulousness
of imagery were the features of Desanka Maksimović’s poetry and prose for
children (Vrt detinjstva [Garden of Childhood], Raspevane priče [Singing Tales], Srce the Great Plaque of the University of Belgrade and the Faculty of Philology for many
years of cultural and literary activities in Serbia (1988), the Golden Wreath of the Struga
Poetry Nights (1988). She was nominated for the Nobel Prize three times. “Like all true
poets, Desanka Maksimović always got more joy from creating than from the success
of her poems.” (Đorđević 1973: 11).
In Valjevo, a monument to her poetry was erected during her lifetime. UNESCO
dedicated the year 1988 to the celebration of the centennial birth anniversary of the
Serbian poet, on recommendation from the “Desanka Maksimović” Foundation, which
ever since it was established in 1993 has been awarding the Desanka Maksimović Award
to outstanding poets. The Foundation initiated and published a critical edition of the
Complete Works of Desanka Maksimović in ten volumes, the tenth volume containing
her biography and bibliography (2012).
PB  - Београд : Српска академија наука и уметности
C3  - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
T1  - Десанка Максимовић (1898 –1993)
SP  - 130
EP  - 187
UR  - https://hdl.handle.net/21.15107/rcub_dais_12228
ER  - 
@conference{
author = "Вранеш, Александра",
year = "2021",
abstract = "Десанка Максимовић (Рабровица, 16. мај 1898 – Београд, 11. фебруар 1993)
истакнута је српска књижевница, песникиња, културни посленик. Више
пута је награђивана високим признањима за свој књижевни рад, педаго-
шки допринос, културно и друштвено ангажовање, међу којима су: Октобарска
награда Крагујевца за Крваву бајку (1963); Седмојулска награда
(1964); Награда АВНОЈ -а (1970); Вукова награда (1974); Змајева награда Ма-
тице српске за 1973. годину за књигу Немам више времена (1974); Плакета
САНУ за велике заслуге у стварању и ширењу песничке речи (1974); На-
града за животно дело Удружења књижевника Србије (1984); Његошева
награда (1984); Велика плакета Универзитета у Београду и Филолошког
факултета, за дугогодишње делање у културном и књижевном животу
Србије (1988); Златни венац Струшких вечери поезије (1988). За Нобелову
награду номинована је три пута.
Десанка Максимовић је 17. 12. 1959. изабрана за дописног члана САНУ ,
а за њеног редовног члана 16. 12. 1965. Приступна беседа редовног члана
Десанке Максимовић биле су три песме из збирке Тражим помиловање
(Свечани скуп, 28. април 1966). Као члан САНУ Десанка је била референт
за изборе преко дванаест чланова САНУ међу књижевницима и научни-
цима из земље и иностранства. Године 1982. одређена је у име Академије
за члана Одбора Вуковог сабора. За дописног члана Словеначке академије
наука и уметности изабрана је 1969. године. Војвођанска академија наука
и уметности изабрала ју је 1991. за свог члана ван редовног састава., Desanka Maksimović (Rabrovica, 16 May 1898 – Belgrade, 11 February 1993) was a
prominent Serbian writer, poet and cultural worker. She attended primary school in
Brankovina and Valjevo (1906–1910), and high school in Valjevo (1910–1919). She worked
as a temporary teacher at the Private High School in Obrenovac, while still a student
(1922–1923), as a substitute teacher at the Third Girls’ Grammar School in Belgrade
(1923, 1926–1928), substitute teacher at the Teachers College in Dubrovnik (1925–1926),
as a full time teacher at the First Gymnasium for Girls in Belgrade (1928–1941) and the
Girls’ Grammar School in Bitoljska Street in Belgrade (1945). She was also the editor
of the journal Književnost (Literature) and a professional writer at the Department of
Science, Art and Culture at the Ministry of Education (1946).
On 17 December 1959, Desanka Maksimović was elected a corresponding
member of the Serbian Academy of Sciences and Arts and became a full member on
16 December 1965. Her accession speech delivered on the occasion of being admitted as
full member consisted of three poems from her collection Tražim pomilovanje (I Seek
Clemency) (Ceremonial Session, 28 April 1966). As a member of the Academy, Desanka
Maksimović was in charge of the election of more than twelve corresponding and full
Academy members from Serbia and abroad, mainly writers. In 1982 she was appointed
as a member of the Vukov sabor Board by the Academy. She became a corresponding
member of the Slovenian Academy of Sciences and Arts in 1969. The Vojvodina Academy
of Sciences and Arts elected her an honorary member in 1991.
The poetry of Desanka Maksimović is characterized by stylistic clarity, immediacy
and spiritual curiosity. Her works were influenced by folk literature, Serbian Romantics,
French and Russian literature and Eastern Orthodoxy. To the question posed by a
journalist of Politika “What is the strength of Orthodoxy that others fear?”, the poet
responded: “God and non-hatred.” (Desanka 1992:15). Compassion and generosity of
spirit towards human fellow-sufferers, her perennial concern for people, give readers
faith and hope for a better life and inspire them with optimism.
The topicality and vigor of problems, a humanist vision of an anticipated future
(Oslobođenje Cvete Andrić [ The Liberation of Cveta Andrić]), a harrowing account
(Krvava bajka [ A Bloody Fairy Tale]), earnest enthusiasm for achievements and a
victorious spirit (Otadžbina u prvomajskoj povorci [Fatherland in a May Day Parade),
an ode to freedom (Otadžbino, tu sam [Fatherland, I am here]), a strong and exciting
humanity (Govori tiho [Speak Softly]), these are the hallmarks of her social and patriotic
poetry.
The subtlety of emotions, grace of intonation, reflective optimism and meticulousness
of imagery were the features of Desanka Maksimović’s poetry and prose for
children (Vrt detinjstva [Garden of Childhood], Raspevane priče [Singing Tales], Srce the Great Plaque of the University of Belgrade and the Faculty of Philology for many
years of cultural and literary activities in Serbia (1988), the Golden Wreath of the Struga
Poetry Nights (1988). She was nominated for the Nobel Prize three times. “Like all true
poets, Desanka Maksimović always got more joy from creating than from the success
of her poems.” (Đorđević 1973: 11).
In Valjevo, a monument to her poetry was erected during her lifetime. UNESCO
dedicated the year 1988 to the celebration of the centennial birth anniversary of the
Serbian poet, on recommendation from the “Desanka Maksimović” Foundation, which
ever since it was established in 1993 has been awarding the Desanka Maksimović Award
to outstanding poets. The Foundation initiated and published a critical edition of the
Complete Works of Desanka Maksimović in ten volumes, the tenth volume containing
her biography and bibliography (2012).",
publisher = "Београд : Српска академија наука и уметности",
journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1",
title = "Десанка Максимовић (1898 –1993)",
pages = "130-187",
url = "https://hdl.handle.net/21.15107/rcub_dais_12228"
}
Вранеш, А.. (2021). Десанка Максимовић (1898 –1993). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
Београд : Српска академија наука и уметности., 130-187.
https://hdl.handle.net/21.15107/rcub_dais_12228
Вранеш А. Десанка Максимовић (1898 –1993). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:130-187.
https://hdl.handle.net/21.15107/rcub_dais_12228 .
Вранеш, Александра, "Десанка Максимовић (1898 –1993)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):130-187,
https://hdl.handle.net/21.15107/rcub_dais_12228 .

Исидора Секулић (1877–1958)

Пековић, Слободанка

(Београд : Српска академија наука и уметности, 2021)

TY  - CONF
AU  - Пековић, Слободанка
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12227
AB  - Најзначајнији постулати стваралаштва Исидоре Секулић, као и оне
одлике
њеног начина писања и живота, створили су од ње „најумнију Српкињу”,
али и „апостола самоће”. И у личном животу и у књижевном стварању
сматрала је да је принцип истинитости, односно поштења како у односу
према људима тако и у односу на књижевни дискурс (било фикционални,
критички, историјски или теоријски) од изузетне важности. На почетно
начело истине надовезивали су се и остали принципи којих се придржа-
вала: принцип сиромаштва, однос према религији, народу, националном
и интернационалном, према језику и култури, за коју је веровала да је по-
кретач напретка и разумевања.
Слављена и оспоравана, Исидора Секулић је обележила своје време,
а њени есеји, путописи и прозни радови и данас изазивају интересовање
читалаца и истраживача. Једна је од ретких српских списатељки која је
стекла запажено место у српском књижевном канону.
Изабрана је за дописног члана Српске краљевске академије 1939, за
дописног члана Српске академије наука 1948, а за редовног члана 1950.
године.
AB  - Isidora Sekulić was born in 1877 in Mošorin. She completed the advanced course in
state pedagogy and passed the French language and literature in 1897 in Budapest. She
occasionally attended lectures on comparative literature from 1904 to 1909 in London,
Paris and Berlin. She earned a PhD degree in Germany. Her teaching career lasted for 35
years, and as of 1931 she entirely devoted herself to literary work.
Isidora Sekulić earned a high place in Serbian culture as a woman-intellectual. She
was a polyglot (at the age of 14 she could speak five languages) and erudite. According to
her contemporaries, she was distinguished by an extraordinary sagacity and a unique
way of thinking, and her multifold approach to problems. She must also be acknowledged
for her courage to “write like a woman”, in spite of the mainstream and established
regula, at the outset of the 20th century, about the topics that usually men wrote about,
ignoring all restrictions that existed at the time in reference to gender, as well as to
“small and big” nations, “small and big” cultures. It could be said that she redefined her
position as an intellectual in patriarchal culture, alongside “Enlightenment in the West”
and “Balkan backwardness”.
Isidora Sekulić’s oeuvre is large and diverse. She wrote nearly six thousand pages of
“experimental works” as she herself dubbed them. Some of them were compiled in books,
some were published in periodicals. Her legacy and correspondence are also extensive.
She wrote stories, narratives, chronicles (some parts of her chronicles look like the basis
for a novel), travelogues, essays, reviews, commissioned texts, novels, and she also did
translation work. She wrote about books, writers, dilemmas, philosophy, religion, music,
art, in a manner that was rare in Serbian literature. Although she was not a professional
art or music critic, her texts about fine arts or music were far from amateurish. She understood
music and painting well and translated them into words. For example, her lyrical
paper Tuga (Sorrow) can be read as a story about love-longing, but it is also a guide
for Grieg’s “Elegy Op. 47”. She was well informed about all arts events, became ecstatic
after seeing the exhibition of Henry Moore or listening to “Symphonie Espagnole” by
Édouard Lalo performed by Yehudi Menuhin. She was a literary master who intriguingly
used erudition and who pondered over art, everyday problems, prejudice… making the
reader pay attention and take part. She tried hard to steer clear of tedious documentarism
and false objectivity in all her writing. Even though she was aware that her words
represented her, she managed to avoid exaggerated subjectivity and narcissism. What
connects all her texts are her distinctive style and language (but also the unrepeatability
of the statement), knowledge and meticulousness. One way or another, her writing is a
speech about herself, although it is far from being a personal diary, not even when she
wrote her Pisma iz Norveške (Letters from Norway). With a writer like Isidora Sekulić,
the reader is seduced with words. She attached great importance to words (spoken or written), and therefore the conclusion that she was a great stylist was logically derived
from her attention to words. The translator or the reader must pay special attention to
words, because they constitute one of the reliable elements of structure, which ensures
the understanding of the author’s text, and of her subjective reception. For example, in
her Uvod u srpski narodni jezik – bolje reći govor (An Introduction to the Serbian Folk
Language – or Speech), language-speech is highlighted as a miraculous expression: “Even
though she talks a lot about translation in this booklet, the author’s real interest and the
true meaning of texts lies in the everlasting and actually inexhaustible observations of
the marvel, of the treasure if you like, which is called a human speech, people’s language,
languages of different nations. The basis or the origin of this marvel lies in the human
power, which means that people, through expressive forms and using meaning, speak
about their lives, their experiences in nature and in the human community. In doing so,
they use a vast number of speech variations, which cannot be counted, nor determined.
Human ability to speak, which have primitive and civilized people alike, is constantly at
work, day and night, like the circulation of blood or the beating of the heart.” [25, Govor i
jezik, Mir i nemir (Speech and Language, Tranquility and Turmoil), p. 119].
Her literary work was influenced by all that was important to her. Everything she
created reflected the author herself, but primarily her feelings of loneliness and vulnerability,
her attitude towards tradition and people, her religious beliefs, an imperative
about her attitudes towards truth and honesty, towards other cultures and peoples.
She was elected a corresponding member of the Serbian Royal Academy in 1939, a
corresponding member of the Serbian Academy of Sciences in 1948, and a full member
in 1950.
PB  - Београд : Српска академија наука и уметности
C3  - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
T1  - Исидора Секулић (1877–1958)
UR  - https://hdl.handle.net/21.15107/rcub_dais_12227
ER  - 
@conference{
author = "Пековић, Слободанка",
year = "2021",
abstract = "Најзначајнији постулати стваралаштва Исидоре Секулић, као и оне
одлике
њеног начина писања и живота, створили су од ње „најумнију Српкињу”,
али и „апостола самоће”. И у личном животу и у књижевном стварању
сматрала је да је принцип истинитости, односно поштења како у односу
према људима тако и у односу на књижевни дискурс (било фикционални,
критички, историјски или теоријски) од изузетне важности. На почетно
начело истине надовезивали су се и остали принципи којих се придржа-
вала: принцип сиромаштва, однос према религији, народу, националном
и интернационалном, према језику и култури, за коју је веровала да је по-
кретач напретка и разумевања.
Слављена и оспоравана, Исидора Секулић је обележила своје време,
а њени есеји, путописи и прозни радови и данас изазивају интересовање
читалаца и истраживача. Једна је од ретких српских списатељки која је
стекла запажено место у српском књижевном канону.
Изабрана је за дописног члана Српске краљевске академије 1939, за
дописног члана Српске академије наука 1948, а за редовног члана 1950.
године., Isidora Sekulić was born in 1877 in Mošorin. She completed the advanced course in
state pedagogy and passed the French language and literature in 1897 in Budapest. She
occasionally attended lectures on comparative literature from 1904 to 1909 in London,
Paris and Berlin. She earned a PhD degree in Germany. Her teaching career lasted for 35
years, and as of 1931 she entirely devoted herself to literary work.
Isidora Sekulić earned a high place in Serbian culture as a woman-intellectual. She
was a polyglot (at the age of 14 she could speak five languages) and erudite. According to
her contemporaries, she was distinguished by an extraordinary sagacity and a unique
way of thinking, and her multifold approach to problems. She must also be acknowledged
for her courage to “write like a woman”, in spite of the mainstream and established
regula, at the outset of the 20th century, about the topics that usually men wrote about,
ignoring all restrictions that existed at the time in reference to gender, as well as to
“small and big” nations, “small and big” cultures. It could be said that she redefined her
position as an intellectual in patriarchal culture, alongside “Enlightenment in the West”
and “Balkan backwardness”.
Isidora Sekulić’s oeuvre is large and diverse. She wrote nearly six thousand pages of
“experimental works” as she herself dubbed them. Some of them were compiled in books,
some were published in periodicals. Her legacy and correspondence are also extensive.
She wrote stories, narratives, chronicles (some parts of her chronicles look like the basis
for a novel), travelogues, essays, reviews, commissioned texts, novels, and she also did
translation work. She wrote about books, writers, dilemmas, philosophy, religion, music,
art, in a manner that was rare in Serbian literature. Although she was not a professional
art or music critic, her texts about fine arts or music were far from amateurish. She understood
music and painting well and translated them into words. For example, her lyrical
paper Tuga (Sorrow) can be read as a story about love-longing, but it is also a guide
for Grieg’s “Elegy Op. 47”. She was well informed about all arts events, became ecstatic
after seeing the exhibition of Henry Moore or listening to “Symphonie Espagnole” by
Édouard Lalo performed by Yehudi Menuhin. She was a literary master who intriguingly
used erudition and who pondered over art, everyday problems, prejudice… making the
reader pay attention and take part. She tried hard to steer clear of tedious documentarism
and false objectivity in all her writing. Even though she was aware that her words
represented her, she managed to avoid exaggerated subjectivity and narcissism. What
connects all her texts are her distinctive style and language (but also the unrepeatability
of the statement), knowledge and meticulousness. One way or another, her writing is a
speech about herself, although it is far from being a personal diary, not even when she
wrote her Pisma iz Norveške (Letters from Norway). With a writer like Isidora Sekulić,
the reader is seduced with words. She attached great importance to words (spoken or written), and therefore the conclusion that she was a great stylist was logically derived
from her attention to words. The translator or the reader must pay special attention to
words, because they constitute one of the reliable elements of structure, which ensures
the understanding of the author’s text, and of her subjective reception. For example, in
her Uvod u srpski narodni jezik – bolje reći govor (An Introduction to the Serbian Folk
Language – or Speech), language-speech is highlighted as a miraculous expression: “Even
though she talks a lot about translation in this booklet, the author’s real interest and the
true meaning of texts lies in the everlasting and actually inexhaustible observations of
the marvel, of the treasure if you like, which is called a human speech, people’s language,
languages of different nations. The basis or the origin of this marvel lies in the human
power, which means that people, through expressive forms and using meaning, speak
about their lives, their experiences in nature and in the human community. In doing so,
they use a vast number of speech variations, which cannot be counted, nor determined.
Human ability to speak, which have primitive and civilized people alike, is constantly at
work, day and night, like the circulation of blood or the beating of the heart.” [25, Govor i
jezik, Mir i nemir (Speech and Language, Tranquility and Turmoil), p. 119].
Her literary work was influenced by all that was important to her. Everything she
created reflected the author herself, but primarily her feelings of loneliness and vulnerability,
her attitude towards tradition and people, her religious beliefs, an imperative
about her attitudes towards truth and honesty, towards other cultures and peoples.
She was elected a corresponding member of the Serbian Royal Academy in 1939, a
corresponding member of the Serbian Academy of Sciences in 1948, and a full member
in 1950.",
publisher = "Београд : Српска академија наука и уметности",
journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1",
title = "Исидора Секулић (1877–1958)",
url = "https://hdl.handle.net/21.15107/rcub_dais_12227"
}
Пековић, С.. (2021). Исидора Секулић (1877–1958). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
Београд : Српска академија наука и уметности..
https://hdl.handle.net/21.15107/rcub_dais_12227
Пековић С. Исидора Секулић (1877–1958). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;.
https://hdl.handle.net/21.15107/rcub_dais_12227 .
Пековић, Слободанка, "Исидора Секулић (1877–1958)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021),
https://hdl.handle.net/21.15107/rcub_dais_12227 .

Катарина Ивановић (1811-1882)

Макуљевић, Ненад

(Београд : Српска академија наука и уметности, 2021)

TY  - CONF
AU  - Макуљевић, Ненад
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12223
AB  - У историји српске уметности и културе XIX века особену појаву представља
уметница Катарина Ивановић. Она спада међу прве жене које су
се афирмисале у српској културној јавности захваљујући свом професионалном
раду. Катарина Ивановић је прва српска школована сликарка,
која се уметношћу бавила до краја живота и прва жена члан Српског ученог
друштва. Изабрана је 1876.
Катарина Ивановић заузела је истакнуто место у историографији о
српској уметности. Захваљујући Теодору Павловићу познате су ране године
њеног живота, а њен сликарски рад праћен је још од студентских
дана [3: 386].1 О њој је писано у бројним научним студијама и прегледима
југословенске и српске уметности. Сликарски опус Катарине Ивановић
монографски је приказан у више наврата, а посебна пажња је посвећивана
различитим аспектима њеног опуса, од иконографског до родног.2 Упркос
изузетном значају и чињеници да се о њој пише још од средине XIX века,
живот и дело Катарине Ивановић остали су у великој мери непознаница
до данас, па су понајвише изостала контекстуална тумачења њених сликарских
радова.
AB  - Katarina Ivanović was born on 15 April 1811 in Veszprém (today North West Hungary)
to a middle-class family, to father Lazar and mother Marija. The family moved to
Székesfehérvár, where she started receiving her first formal art training, which she later
continued in Pest and Vienna, where she enrolled in the Academy of Fine Arts. She lived
and studied in Munich (1844 and 1855). For years she was up to date on all new developments
in European art, she travelled a lot and studied the latest achievements in painting
at the time by visiting art galleries and churches, and she had close ties with the Serbian
cultural elite gathered around Vuk Karadžić.
In the history of Serbia’s 19th century culture, Katarina Ivanović represents a unique
phenomenon. With her artistic lifestyle and paintings, she embodied the pioneering phenomenon
of the Serbian bourgeois art. Katarina Ivanović was the first Serbian artist who,
thanks to the 1837 display of her self-portrait, gained recognition from Viennese art critics.
At the same time, owing to her self-portrait, she became the first artist to be publicly
celebrated in Serbia and therefore her artworks were reproduced and popularized in
the press – Serbski narodni list. For nearly four decades, Katarina Ivanović participated
in the artistic life of the Habsburg Monarchy, Vienna and Pest, and was the first Serbian
artist whose works were on display at the greatest cultural events of the 19th century. She
exhibited her artworks at world exhibitions held in Paris and Vienna in 1873.
By producing complex artworks which examined patriotic and historical themes,
Katarina Ivanović made a great impact on the thematic repertoire of Serbian art. Srbski
Omir became an iconographic basis for the portrayal of the Serbs gathered around gusle
players, which was one of the most important national themes in 19th-century Serbian
art. Her distinctive selection of historical compositions from Serbian and Hungarian history,
with an emphasis on the role of a woman, constitutes a unique synthesis of different
identity layers – Serbian national identity, gender identity, but also her territorial
identity – Hungarian. Some compositions such as The Liberation of Belgrade belong to
the most complex artworks created at the time. Her painting Self-portrait in the Studio,
which she painted in her later years, was her manifesto, which testified to her artistic
personality and her achievements.
Having gained recognition from her contemporaries at an early age, Katarina
Ivanović was held in very high esteem in the Principality of Serbia. She was admitted to
the Serbian Learned Society in 1876, as the first woman ever to become its fellow. Her
admission to the Society was closely associated with her patriotic decision to donate
some selected pieces of her paintings to the National Museum in Belgrade. In that way,
she enriched Serbian culture forever.
She passed away on 12 September 1882 in Székesfehérvár, to which she remained
devoted all her life. Her last will and testament testifies to her close ties with her family,
friends and Serbian community.
PB  - Београд : Српска академија наука и уметности
C3  - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
T1  - Катарина Ивановић (1811-1882)
T1  - 
SP  - 26
EP  - 57
UR  - https://hdl.handle.net/21.15107/rcub_dais_12223
ER  - 
@conference{
author = "Макуљевић, Ненад",
year = "2021",
abstract = "У историји српске уметности и културе XIX века особену појаву представља
уметница Катарина Ивановић. Она спада међу прве жене које су
се афирмисале у српској културној јавности захваљујући свом професионалном
раду. Катарина Ивановић је прва српска школована сликарка,
која се уметношћу бавила до краја живота и прва жена члан Српског ученог
друштва. Изабрана је 1876.
Катарина Ивановић заузела је истакнуто место у историографији о
српској уметности. Захваљујући Теодору Павловићу познате су ране године
њеног живота, а њен сликарски рад праћен је још од студентских
дана [3: 386].1 О њој је писано у бројним научним студијама и прегледима
југословенске и српске уметности. Сликарски опус Катарине Ивановић
монографски је приказан у више наврата, а посебна пажња је посвећивана
различитим аспектима њеног опуса, од иконографског до родног.2 Упркос
изузетном значају и чињеници да се о њој пише још од средине XIX века,
живот и дело Катарине Ивановић остали су у великој мери непознаница
до данас, па су понајвише изостала контекстуална тумачења њених сликарских
радова., Katarina Ivanović was born on 15 April 1811 in Veszprém (today North West Hungary)
to a middle-class family, to father Lazar and mother Marija. The family moved to
Székesfehérvár, where she started receiving her first formal art training, which she later
continued in Pest and Vienna, where she enrolled in the Academy of Fine Arts. She lived
and studied in Munich (1844 and 1855). For years she was up to date on all new developments
in European art, she travelled a lot and studied the latest achievements in painting
at the time by visiting art galleries and churches, and she had close ties with the Serbian
cultural elite gathered around Vuk Karadžić.
In the history of Serbia’s 19th century culture, Katarina Ivanović represents a unique
phenomenon. With her artistic lifestyle and paintings, she embodied the pioneering phenomenon
of the Serbian bourgeois art. Katarina Ivanović was the first Serbian artist who,
thanks to the 1837 display of her self-portrait, gained recognition from Viennese art critics.
At the same time, owing to her self-portrait, she became the first artist to be publicly
celebrated in Serbia and therefore her artworks were reproduced and popularized in
the press – Serbski narodni list. For nearly four decades, Katarina Ivanović participated
in the artistic life of the Habsburg Monarchy, Vienna and Pest, and was the first Serbian
artist whose works were on display at the greatest cultural events of the 19th century. She
exhibited her artworks at world exhibitions held in Paris and Vienna in 1873.
By producing complex artworks which examined patriotic and historical themes,
Katarina Ivanović made a great impact on the thematic repertoire of Serbian art. Srbski
Omir became an iconographic basis for the portrayal of the Serbs gathered around gusle
players, which was one of the most important national themes in 19th-century Serbian
art. Her distinctive selection of historical compositions from Serbian and Hungarian history,
with an emphasis on the role of a woman, constitutes a unique synthesis of different
identity layers – Serbian national identity, gender identity, but also her territorial
identity – Hungarian. Some compositions such as The Liberation of Belgrade belong to
the most complex artworks created at the time. Her painting Self-portrait in the Studio,
which she painted in her later years, was her manifesto, which testified to her artistic
personality and her achievements.
Having gained recognition from her contemporaries at an early age, Katarina
Ivanović was held in very high esteem in the Principality of Serbia. She was admitted to
the Serbian Learned Society in 1876, as the first woman ever to become its fellow. Her
admission to the Society was closely associated with her patriotic decision to donate
some selected pieces of her paintings to the National Museum in Belgrade. In that way,
she enriched Serbian culture forever.
She passed away on 12 September 1882 in Székesfehérvár, to which she remained
devoted all her life. Her last will and testament testifies to her close ties with her family,
friends and Serbian community.",
publisher = "Београд : Српска академија наука и уметности",
journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1",
title = "Катарина Ивановић (1811-1882), ",
pages = "26-57",
url = "https://hdl.handle.net/21.15107/rcub_dais_12223"
}
Макуљевић, Н.. (2021). Катарина Ивановић (1811-1882). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
Београд : Српска академија наука и уметности., 26-57.
https://hdl.handle.net/21.15107/rcub_dais_12223
Макуљевић Н. Катарина Ивановић (1811-1882). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:26-57.
https://hdl.handle.net/21.15107/rcub_dais_12223 .
Макуљевић, Ненад, "Катарина Ивановић (1811-1882)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):26-57,
https://hdl.handle.net/21.15107/rcub_dais_12223 .

Аделајн Полина Ирби (1831–1911)

Марковић, Слободан Г.

(Београд : Српска академија наука и уметности, 2021)

TY  - CONF
AU  - Марковић, Слободан Г.
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/12226
AB  - Аделајн Полина Ирби1 (Adeline Paulina Irby, Бојленд Хол код Норича,
18. децембар 1831 – Сарајево, 2/15. септембар 1911) британска је ауторка и
добротворка.
Истакла се посебно у две области: у публицистичком раду
којим је обавештавала британску јавност о положају балканских хришћа-
на и кроз добротворни и образовни рад у Босни, Славонији, Лици и Дал-
мацији. Њена хуманитарна активност огледала се у огромној помоћи
хришћанским избеглицама из Босне и Херцеговине током Велике источне
кризе (1875–1878), као и у оснивању 22 школе у Славонији и пет у Лици за
избеглу српску децу. Њена просветна активност посебно је дошла до изра-
жаја у Сарајеву, где је основала школу за женску хришћанску децу 1866, а то је временом постао завод за образовање српске женске деце, који је
радио до њене смрти 1911. Књигу Путовање по словенским земљама Турске
у Европи заједно су 1866. објавиле Џорџина Макензи и Аделајн Ирби. Она је
извршила велику улогу, посебно током Велике источне кризе, у обавешта-
вању британског јавног мњења о приликама у којима су живели православни
хришћани под османском влашћу. Овај путопис представља најпотпунији
извор о Србима под османском влашћу до тада објављен на енглеском.
AB  - Adeline Paulina Irby (1831-1911) was a British author and humanitarian. She started
her European travels with Georgina Mary Muir Mackenzie (1833-1874) in 1859. Between
1861 and 1864, they made several journeys to the central parts of the Balkans, including
Bulgaria, Serbia, Old Serbia, northern Albania and Montenegro. They learned the Serbian
language, collected extensive material and, in 1866/1867, published the travelogue Travels
in the Slavonic Provinces of Turkey-in-Europe. This travelogue played a significant role
in improving the image of the Balkan Christians in Britain; its second edition, published
in 1877 and prefaced by William Gladstone, proved particularly influential. The second
edition was translated into Russian. Prince Michael Obrenovich (Mihailo Obrenović) III
personally financed its first publication in the Serbian language, translated by Chedomille
Miyatovich (Čedomilj Mijatović).
Her philanthropic work in Bosnia lasted from 1866 till her death. Her activities
focused on the girls’ school she had established in Sarajevo, which was intended for all
Slavs in Bosnia, but in the end, only Orthodox Serbs attended it. With the outbreak of the
Eastern Crisis, in 1875-1879, she devoted herself to extensive humanitarian work to help
Serbian Christian refugees from Bosnia. In 1876, she established 22 schools in Slavonia to
provide accommodation and care for refugee children from Bosnia. At one point, 2,000
children attended these schools. In 1877/78, the focus of her work shifted to Dalmatia
and Lika, where she established five schools, organiѕed temporary accommodation for
refugees, collected huge humanitarian aid and hired refugees to work on public projects.
Between 1872 and 1885, Priscilla Johnston (1841-1912) assisted her in her humanitarian
efforts, and thus the two became symbols of aid and charitableness amongst Bosnian
Serbs. The plight of the refugees from Bosnia was such that the humanitarian work of
Paulina Irby and Priscilla Johnston saved many lives.
During the Eastern Crisis, the Bosnian and Herzegovinian Fugitives and Orphans
Relief Fund, run by Miss Irby, collected huge humanitarian aid in Britain, estimated
between £40,000 (the equivalent of half a million crowns) and four million Austro-
Hungarian florins or crowns. Working to help the refugees, she wrote numerous letters
to the leading London dailies, The Times and The Daily News. Those letters helped raise
significant humanitarian aid for Bosnian Christian refugees, mostly ethnic Serbs.
From 1879 until her death in 1911, she rebuilt a school in Sarajevo, which at first
accepted orphans from the previous war of both sexes, and then became a primarily
female school for educating Serbian women from Bosnia and training them to work
as teachers. The school took pains to preserve the national (Serbian) and religious
(Orthodox) identity of its students and pupils and was therefore viewed with suspicion
by the local Austro-Hungarian authorities. Paulina Irby was held in high regard by Serbian rulers, intellectuals and ordinary
people who, in recognition of her efforts, dubbed her “gracious”, whereas she and
Johnston were dubbed “queens” during the Great Eastern Crisis. She lived in Sarajevo
from 1879 until her death and only occasionally went to Britain and visited Italy and other
countries. She took a keen interest in classical studies and archaeology.
She was an honorary member of various Serbian women’s associations and was
actively involved in the suffragette movement in Britain, which was at the time pushing
for universal suffrage. From 1885, she was the only female corresponding member of the
Serbian Learned Society and the only woman to be accepted as an honorary member
into the Serbian Royal Academy (1892). She received honours from the rulers of both
Serbia and Montenegro.
PB  - Београд : Српска академија наука и уметности
C3  - Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
T1  - Аделајн Полина Ирби (1831–1911)
T1  - 
SP  - 26
EP  - 93
UR  - https://hdl.handle.net/21.15107/rcub_dais_12226
ER  - 
@conference{
author = "Марковић, Слободан Г.",
year = "2021",
abstract = "Аделајн Полина Ирби1 (Adeline Paulina Irby, Бојленд Хол код Норича,
18. децембар 1831 – Сарајево, 2/15. септембар 1911) британска је ауторка и
добротворка.
Истакла се посебно у две области: у публицистичком раду
којим је обавештавала британску јавност о положају балканских хришћа-
на и кроз добротворни и образовни рад у Босни, Славонији, Лици и Дал-
мацији. Њена хуманитарна активност огледала се у огромној помоћи
хришћанским избеглицама из Босне и Херцеговине током Велике источне
кризе (1875–1878), као и у оснивању 22 школе у Славонији и пет у Лици за
избеглу српску децу. Њена просветна активност посебно је дошла до изра-
жаја у Сарајеву, где је основала школу за женску хришћанску децу 1866, а то је временом постао завод за образовање српске женске деце, који је
радио до њене смрти 1911. Књигу Путовање по словенским земљама Турске
у Европи заједно су 1866. објавиле Џорџина Макензи и Аделајн Ирби. Она је
извршила велику улогу, посебно током Велике источне кризе, у обавешта-
вању британског јавног мњења о приликама у којима су живели православни
хришћани под османском влашћу. Овај путопис представља најпотпунији
извор о Србима под османском влашћу до тада објављен на енглеском., Adeline Paulina Irby (1831-1911) was a British author and humanitarian. She started
her European travels with Georgina Mary Muir Mackenzie (1833-1874) in 1859. Between
1861 and 1864, they made several journeys to the central parts of the Balkans, including
Bulgaria, Serbia, Old Serbia, northern Albania and Montenegro. They learned the Serbian
language, collected extensive material and, in 1866/1867, published the travelogue Travels
in the Slavonic Provinces of Turkey-in-Europe. This travelogue played a significant role
in improving the image of the Balkan Christians in Britain; its second edition, published
in 1877 and prefaced by William Gladstone, proved particularly influential. The second
edition was translated into Russian. Prince Michael Obrenovich (Mihailo Obrenović) III
personally financed its first publication in the Serbian language, translated by Chedomille
Miyatovich (Čedomilj Mijatović).
Her philanthropic work in Bosnia lasted from 1866 till her death. Her activities
focused on the girls’ school she had established in Sarajevo, which was intended for all
Slavs in Bosnia, but in the end, only Orthodox Serbs attended it. With the outbreak of the
Eastern Crisis, in 1875-1879, she devoted herself to extensive humanitarian work to help
Serbian Christian refugees from Bosnia. In 1876, she established 22 schools in Slavonia to
provide accommodation and care for refugee children from Bosnia. At one point, 2,000
children attended these schools. In 1877/78, the focus of her work shifted to Dalmatia
and Lika, where she established five schools, organiѕed temporary accommodation for
refugees, collected huge humanitarian aid and hired refugees to work on public projects.
Between 1872 and 1885, Priscilla Johnston (1841-1912) assisted her in her humanitarian
efforts, and thus the two became symbols of aid and charitableness amongst Bosnian
Serbs. The plight of the refugees from Bosnia was such that the humanitarian work of
Paulina Irby and Priscilla Johnston saved many lives.
During the Eastern Crisis, the Bosnian and Herzegovinian Fugitives and Orphans
Relief Fund, run by Miss Irby, collected huge humanitarian aid in Britain, estimated
between £40,000 (the equivalent of half a million crowns) and four million Austro-
Hungarian florins or crowns. Working to help the refugees, she wrote numerous letters
to the leading London dailies, The Times and The Daily News. Those letters helped raise
significant humanitarian aid for Bosnian Christian refugees, mostly ethnic Serbs.
From 1879 until her death in 1911, she rebuilt a school in Sarajevo, which at first
accepted orphans from the previous war of both sexes, and then became a primarily
female school for educating Serbian women from Bosnia and training them to work
as teachers. The school took pains to preserve the national (Serbian) and religious
(Orthodox) identity of its students and pupils and was therefore viewed with suspicion
by the local Austro-Hungarian authorities. Paulina Irby was held in high regard by Serbian rulers, intellectuals and ordinary
people who, in recognition of her efforts, dubbed her “gracious”, whereas she and
Johnston were dubbed “queens” during the Great Eastern Crisis. She lived in Sarajevo
from 1879 until her death and only occasionally went to Britain and visited Italy and other
countries. She took a keen interest in classical studies and archaeology.
She was an honorary member of various Serbian women’s associations and was
actively involved in the suffragette movement in Britain, which was at the time pushing
for universal suffrage. From 1885, she was the only female corresponding member of the
Serbian Learned Society and the only woman to be accepted as an honorary member
into the Serbian Royal Academy (1892). She received honours from the rulers of both
Serbia and Montenegro.",
publisher = "Београд : Српска академија наука и уметности",
journal = "Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1",
title = "Аделајн Полина Ирби (1831–1911), ",
pages = "26-93",
url = "https://hdl.handle.net/21.15107/rcub_dais_12226"
}
Марковић, С. Г.. (2021). Аделајн Полина Ирби (1831–1911). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1
Београд : Српска академија наука и уметности., 26-93.
https://hdl.handle.net/21.15107/rcub_dais_12226
Марковић СГ. Аделајн Полина Ирби (1831–1911). in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1. 2021;:26-93.
https://hdl.handle.net/21.15107/rcub_dais_12226 .
Марковић, Слободан Г., "Аделајн Полина Ирби (1831–1911)" in Живот и стваралаштво жена чланова Српског ученог друштва, Српске краљевске академије и Српске академије наука и уметности. Том 1 (2021):26-93,
https://hdl.handle.net/21.15107/rcub_dais_12226 .

Excluded communities and participatory land-use planning: experience from informal Roma settlements in Serbia

Vuksanović-Macura, Zlata; Miščević, Igor

(SAGE Publishing, 2021)

TY  - JOUR
AU  - Vuksanović-Macura, Zlata
AU  - Miščević, Igor
PY  - 2021
UR  - https://dais.sanu.ac.rs/123456789/11943
AB  - Citizen participation in the planning and decision-making process in the European post-socialist context is much debated. Still, the involvement of excluded communities in the urban planning process remains understudied. This paper presents and discusses the application of an innovative participatory approach designed to ensure active involvement of an excluded ethnic minority, the Roma community, in the process of formulating and adopting land-use plans for informal settlements in Serbia. By analysing the development of land-use plans in 11 municipalities, we observe that the applied participatory approach enhanced the inhabitants’ active participation and helped build consensus on the planned solution between the key actors. Findings also suggested that further work with citizens, capacity building of planners and administration, and secured financial mechanisms are needed to move citizen participation in urban planning beyond the limited statutory requirements.
PB  - SAGE Publishing
T2  - Environment and Urbanization
T1  - Excluded communities and participatory land-use planning: experience from informal Roma settlements in Serbia
SP  - 456
EP  - 477
VL  - 33
IS  - 2
DO  - https://doi.org/10.1177/09562478211024095
UR  - https://hdl.handle.net/21.15107/rcub_dais_11943
ER  - 
@article{
author = "Vuksanović-Macura, Zlata and Miščević, Igor",
year = "2021",
abstract = "Citizen participation in the planning and decision-making process in the European post-socialist context is much debated. Still, the involvement of excluded communities in the urban planning process remains understudied. This paper presents and discusses the application of an innovative participatory approach designed to ensure active involvement of an excluded ethnic minority, the Roma community, in the process of formulating and adopting land-use plans for informal settlements in Serbia. By analysing the development of land-use plans in 11 municipalities, we observe that the applied participatory approach enhanced the inhabitants’ active participation and helped build consensus on the planned solution between the key actors. Findings also suggested that further work with citizens, capacity building of planners and administration, and secured financial mechanisms are needed to move citizen participation in urban planning beyond the limited statutory requirements.",
publisher = "SAGE Publishing",
journal = "Environment and Urbanization",
title = "Excluded communities and participatory land-use planning: experience from informal Roma settlements in Serbia",
pages = "456-477",
volume = "33",
number = "2",
doi = "https://doi.org/10.1177/09562478211024095",
url = "https://hdl.handle.net/21.15107/rcub_dais_11943"
}
Vuksanović-Macura, Z.,& Miščević, I.. (2021). Excluded communities and participatory land-use planning: experience from informal Roma settlements in Serbia. in Environment and Urbanization
SAGE Publishing., 33(2), 456-477.
https://doi.org/https://doi.org/10.1177/09562478211024095
https://hdl.handle.net/21.15107/rcub_dais_11943
Vuksanović-Macura Z, Miščević I. Excluded communities and participatory land-use planning: experience from informal Roma settlements in Serbia. in Environment and Urbanization. 2021;33(2):456-477.
doi:https://doi.org/10.1177/09562478211024095
https://hdl.handle.net/21.15107/rcub_dais_11943 .
Vuksanović-Macura, Zlata, Miščević, Igor, "Excluded communities and participatory land-use planning: experience from informal Roma settlements in Serbia" in Environment and Urbanization, 33, no. 2 (2021):456-477,
https://doi.org/https://doi.org/10.1177/09562478211024095 .,
https://hdl.handle.net/21.15107/rcub_dais_11943 .

Мишел Ажије, Нове сеобе народа, нови космополитизам

Јовановић, Теодора

(Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA, 2021)

TY  - JOUR
AU  - Јовановић, Теодора
PY  - 2021
UR  - https://dais.sanu.ac.rs/handle/123456789/942/submit/1d4479215d215d54876a0e5f3b4d52025c1c694f.continue
UR  - https://dais.sanu.ac.rs/123456789/12195
PB  - Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA
T2  - Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
T1  - Мишел Ажије, Нове сеобе народа, нови космополитизам
SP  - 506
EP  - 508
VL  - 69
IS  - 2
UR  - https://hdl.handle.net/21.15107/rcub_dais_12195
ER  - 
@article{
author = "Јовановић, Теодора",
year = "2021",
publisher = "Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA",
journal = "Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA",
title = "Мишел Ажије, Нове сеобе народа, нови космополитизам",
pages = "506-508",
volume = "69",
number = "2",
url = "https://hdl.handle.net/21.15107/rcub_dais_12195"
}
Јовановић, Т.. (2021). Мишел Ажије, Нове сеобе народа, нови космополитизам. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA., 69(2), 506-508.
https://hdl.handle.net/21.15107/rcub_dais_12195
Јовановић Т. Мишел Ажије, Нове сеобе народа, нови космополитизам. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA. 2021;69(2):506-508.
https://hdl.handle.net/21.15107/rcub_dais_12195 .
Јовановић, Теодора, "Мишел Ажије, Нове сеобе народа, нови космополитизам" in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA, 69, no. 2 (2021):506-508,
https://hdl.handle.net/21.15107/rcub_dais_12195 .

Милан Томашевић, Космологика: контекстуализација популарне космологије

Башић, Ивана

(Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA, 2021)

TY  - JOUR
AU  - Башић, Ивана
PY  - 2021
UR  - https://dais.sanu.ac.rs/handle/123456789/942/submit/1043592808597b1b168110210b79677d19360179.continue
UR  - https://dais.sanu.ac.rs/123456789/12194
AB  - Монографија Космологика аутора Милана Томашевића контекстуализује
улогу космологије, па и науке уопште, у оквире савременог погледа на свет, који,
барем номинално, доминира секуларним Западом. Контрастирањем религијског и
научног дискурса, књига у први план истиче важност и вредност телеолошке
димензије космолошких теорија и настоји да им пружи културолошки релевантно
тумачење, указујући на читав низ могућих значења похрањених у популарном
космолошком наративу. Антрополошким проматрањем једног научног
објашњења или сета теорија, аутор на занимљив и веома илустративан начин
доприноси бољем разумевању улоге науке у савременом културном контексту и
помаже расветљавању филозофске и религијске димензије космологије. Стога су
Космологике значајно штиво не само за ужи научни круг читалаца, већ се могу
читати и као узбудљива авантура људске мисли у космосу и о космосу.
PB  - Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA
T2  - Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
T1  - Милан Томашевић, Космологика: контекстуализација популарне космологије
SP  - 503
EP  - 506
VL  - 69
IS  - 2
UR  - https://hdl.handle.net/21.15107/rcub_dais_12194
ER  - 
@article{
author = "Башић, Ивана",
year = "2021",
abstract = "Монографија Космологика аутора Милана Томашевића контекстуализује
улогу космологије, па и науке уопште, у оквире савременог погледа на свет, који,
барем номинално, доминира секуларним Западом. Контрастирањем религијског и
научног дискурса, књига у први план истиче важност и вредност телеолошке
димензије космолошких теорија и настоји да им пружи културолошки релевантно
тумачење, указујући на читав низ могућих значења похрањених у популарном
космолошком наративу. Антрополошким проматрањем једног научног
објашњења или сета теорија, аутор на занимљив и веома илустративан начин
доприноси бољем разумевању улоге науке у савременом културном контексту и
помаже расветљавању филозофске и религијске димензије космологије. Стога су
Космологике значајно штиво не само за ужи научни круг читалаца, већ се могу
читати и као узбудљива авантура људске мисли у космосу и о космосу.",
publisher = "Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA",
journal = "Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA",
title = "Милан Томашевић, Космологика: контекстуализација популарне космологије",
pages = "503-506",
volume = "69",
number = "2",
url = "https://hdl.handle.net/21.15107/rcub_dais_12194"
}
Башић, И.. (2021). Милан Томашевић, Космологика: контекстуализација популарне космологије. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA., 69(2), 503-506.
https://hdl.handle.net/21.15107/rcub_dais_12194
Башић И. Милан Томашевић, Космологика: контекстуализација популарне космологије. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA. 2021;69(2):503-506.
https://hdl.handle.net/21.15107/rcub_dais_12194 .
Башић, Ивана, "Милан Томашевић, Космологика: контекстуализација популарне космологије" in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA, 69, no. 2 (2021):503-506,
https://hdl.handle.net/21.15107/rcub_dais_12194 .

O којој интеграцији је реч? Поводом књиге Рахеле Јурковић Интеграција азиланата у хрватско друштво: културноантрополошка студија

Ђорђевић Црнобрња, Јадранка

(Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA, 2021)

TY  - JOUR
AU  - Ђорђевић Црнобрња, Јадранка
PY  - 2021
UR  - https://dais.sanu.ac.rs/handle/123456789/942/submit/174c6975685849747e685f192e0c1c5134577719.continue
UR  - https://dais.sanu.ac.rs/123456789/12193
AB  - Културноантрополошка студија Рахеле Јурковић представља важан документ о
мигрантској ситуацији која се одвијала не само на простору Републике Хрватске,
већ и осталих држава Западног Балкана. Сходно томе њен допринос разумевању
интеграције азиланата није од посебног значаја само за етнолошка и
(културно)антрополошка истраживања миграција у Хрватској, већ резултати
изнети у књизи представљају допринос разумевању проблематике тражења азила
како у научном тако и у ширем друштвеном контексту.
PB  - Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA
T2  - Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
T1  - O којој интеграцији је реч? Поводом књиге Рахеле Јурковић Интеграција азиланата у хрватско друштво: културноантрополошка студија
SP  - 496
EP  - 502
VL  - 69
IS  - 2
UR  - https://hdl.handle.net/21.15107/rcub_dais_12193
ER  - 
@article{
author = "Ђорђевић Црнобрња, Јадранка",
year = "2021",
abstract = "Културноантрополошка студија Рахеле Јурковић представља важан документ о
мигрантској ситуацији која се одвијала не само на простору Републике Хрватске,
већ и осталих држава Западног Балкана. Сходно томе њен допринос разумевању
интеграције азиланата није од посебног значаја само за етнолошка и
(културно)антрополошка истраживања миграција у Хрватској, већ резултати
изнети у књизи представљају допринос разумевању проблематике тражења азила
како у научном тако и у ширем друштвеном контексту.",
publisher = "Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA",
journal = "Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA",
title = "O којој интеграцији је реч? Поводом књиге Рахеле Јурковић Интеграција азиланата у хрватско друштво: културноантрополошка студија",
pages = "496-502",
volume = "69",
number = "2",
url = "https://hdl.handle.net/21.15107/rcub_dais_12193"
}
Ђорђевић Црнобрња, Ј.. (2021). O којој интеграцији је реч? Поводом књиге Рахеле Јурковић Интеграција азиланата у хрватско друштво: културноантрополошка студија. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA., 69(2), 496-502.
https://hdl.handle.net/21.15107/rcub_dais_12193
Ђорђевић Црнобрња Ј. O којој интеграцији је реч? Поводом књиге Рахеле Јурковић Интеграција азиланата у хрватско друштво: културноантрополошка студија. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA. 2021;69(2):496-502.
https://hdl.handle.net/21.15107/rcub_dais_12193 .
Ђорђевић Црнобрња, Јадранка, "O којој интеграцији је реч? Поводом књиге Рахеле Јурковић Интеграција азиланата у хрватско друштво: културноантрополошка студија" in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA, 69, no. 2 (2021):496-502,
https://hdl.handle.net/21.15107/rcub_dais_12193 .

(Над)гледање женског тела на тржишту спектакла: род и музика

Лукић Крстановић, Мирослава

(Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA, 2021)

TY  - JOUR
AU  - Лукић Крстановић, Мирослава
PY  - 2021
UR  - https://dais.sanu.ac.rs/handle/123456789/942/submit/268a544c498e53144636553f1d4e6f322074871e.continue
UR  - https://dais.sanu.ac.rs/123456789/12192
AB  - У раду се проблематизују улоге и позиције жена уметница, артисткиња и
конзументкиња кроз сложене процесе спектакла. Питање женског тела доводи се у
везу са преиспитивањем родних улога на перформативном терену, с циљем да се
нагласе постојеће парадигме (као што су сексуалност, диморфизам, доминације и
субординације, фалогоцентрични простор), али и да се усложне конструктивне опције
на тлу популарне музике и поткултуре (амбивалентност, еквиваленост, варијантна
својства, репрезентативност и интернализација субјекта). Најуочљивији примери
произилазе из рокенрол културе и рок сцена где се конфронтирају феминистички
отпори са мушким хегемонијама, посебно у зонама моћи управљања и фабриковања
женске телесности.
AB  - The paper problematizes roles and positions of women artists and women consumers
through the complex processes of spectacle. The question of women’s body is related to the
questioning of the gender roles on the performative level, with the aim to emphasize existing
paradigms (as sexuality, dimorphism, dominations and subordinations, phalogocentric
spaces), but also to make complex constructive options in the sphere of popular music and
subculture (ambivalence, equivalence, variable qualities, subject representationalism, subject
intentionality). The most noticeable examples stem from rock and roll culture and rock
scenes where feminist resistances to male hegemonies are created, especially in the zones of
power of management and fabrication of women’s body.
PB  - Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA
T2  - Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
T1  - (Над)гледање женског тела на тржишту спектакла: род и музика
T1  - Controlling Woman’s Body on the Market of the Spectacle: Gender and Music
SP  - 303
EP  - 322
VL  - 69
IS  - 2
DO  - 10.2298/GEI2102303L
UR  - https://hdl.handle.net/21.15107/rcub_dais_12192
ER  - 
@article{
author = "Лукић Крстановић, Мирослава",
year = "2021",
abstract = "У раду се проблематизују улоге и позиције жена уметница, артисткиња и
конзументкиња кроз сложене процесе спектакла. Питање женског тела доводи се у
везу са преиспитивањем родних улога на перформативном терену, с циљем да се
нагласе постојеће парадигме (као што су сексуалност, диморфизам, доминације и
субординације, фалогоцентрични простор), али и да се усложне конструктивне опције
на тлу популарне музике и поткултуре (амбивалентност, еквиваленост, варијантна
својства, репрезентативност и интернализација субјекта). Најуочљивији примери
произилазе из рокенрол културе и рок сцена где се конфронтирају феминистички
отпори са мушким хегемонијама, посебно у зонама моћи управљања и фабриковања
женске телесности., The paper problematizes roles and positions of women artists and women consumers
through the complex processes of spectacle. The question of women’s body is related to the
questioning of the gender roles on the performative level, with the aim to emphasize existing
paradigms (as sexuality, dimorphism, dominations and subordinations, phalogocentric
spaces), but also to make complex constructive options in the sphere of popular music and
subculture (ambivalence, equivalence, variable qualities, subject representationalism, subject
intentionality). The most noticeable examples stem from rock and roll culture and rock
scenes where feminist resistances to male hegemonies are created, especially in the zones of
power of management and fabrication of women’s body.",
publisher = "Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA",
journal = "Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA",
title = "(Над)гледање женског тела на тржишту спектакла: род и музика, Controlling Woman’s Body on the Market of the Spectacle: Gender and Music",
pages = "303-322",
volume = "69",
number = "2",
doi = "10.2298/GEI2102303L",
url = "https://hdl.handle.net/21.15107/rcub_dais_12192"
}
Лукић Крстановић, М.. (2021). (Над)гледање женског тела на тржишту спектакла: род и музика. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA
Београд : Етнографски институт САНУ / Belgrade : Institute of Ethnography SASA., 69(2), 303-322.
https://doi.org/10.2298/GEI2102303L
https://hdl.handle.net/21.15107/rcub_dais_12192
Лукић Крстановић М. (Над)гледање женског тела на тржишту спектакла: род и музика. in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA. 2021;69(2):303-322.
doi:10.2298/GEI2102303L
https://hdl.handle.net/21.15107/rcub_dais_12192 .
Лукић Крстановић, Мирослава, "(Над)гледање женског тела на тржишту спектакла: род и музика" in Гласник Етнографског Института САНУ / Bulletin of the Institute of Ethnography SASA, 69, no. 2 (2021):303-322,
https://doi.org/10.2298/GEI2102303L .,
https://hdl.handle.net/21.15107/rcub_dais_12192 .