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1

WHOSE IS THE 'KNEZJI KAMEN'? ABOUT SLOVENIAN POLITICS OF SYMBOLS

100%
Falski M.
Pamiętnik Słowiański
|
2008
|
vol. 58
|
issue 1
49-66
EN
The ceremony of enthronment of the Carinthian princes is one of the rare examples of state tradition in Central Europe. After the disintegration of the Habsburg empire this tradition is reclaimed both by Austrian Carinthians, dominated by German-speaking population, and Slovenians. The latter claim that medieval Carinthia was a predecessor of the contemporary Slavic state, what is an usurpation for the first ones. The 'knezji kamen', or princes' stone, is an ancient monument and a testimony to this ceremony, materializing its symbolic meanings. Austrian-Slovenian conflict about who has the right to use this symbol is considered here in a broader context of the Slovenian national narrative. A discussion of this and other symbols can point some major aspects of Slovanian cultural identity.
2

TO REGAIN THE VOICE IN THE PUBLIC DEBATE. ABOUT WOMEN'S STATUS IN THE MODERN CROATIAN CULTURE

100%
Falski M.
Pamiętnik Słowiański
|
2008
|
vol. 58
|
issue 2
3-18
EN
The paper focuses on the organization of the public sphere in the Croatian culture, and its interpretation in social and human sciences. Four texts from the beginning of Croatian modernity are concerned, two of them of ethnologic, and two other of literary nature. Every text shows how woman was eliminated from pubic sphere, and subordinated to masculine domination. The metaphor of the voice was derived from ethnologic observation as a clearest example of the inequality of genders, genuine to functioning of the public sphere in 19th and 20th century, not only in Croatia. A question appears how can one interpret the process of the emancipation: from national perspective regardless the absence of many groups from the public debate, or from civic perspective, as an uncompleted phenomenon.
3
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Evoking the past in the Croatian popular music. A case study

100%
Falski M.
Slavia Meridionalis
|
2005
|
vol. 5
215-232
EN
This article is based on the thesis that in modern societies history ceases to be the domain of professional historians. Owing to the decline of the position of sciences, and generally of social authorities, different ways of constructing the image of the past may appear. One of the most important factors in this process are mass media and especially the popular music. The article considers the case of Marko Perkovic Thompson, a famous Croatian singer, as an exemple. Thompson in his lyrics uses some elements of the Croatian history that could be treated as a base for the reconstructed national identity. All of them can be seen as symbols of the Croatian independence. By relating them to the ustasha movement and NDH (Croatian Independent State, 1941-1945), and opposing to the communist period, he proceedes to the reinterpretation of Croatian fascist movement. The article reveals some of the procedures which make the popular music so influential in modern society, among them the indentification of the listeners with the singer or evoking the national pride. As a conclusion, the examination of relation between the reinterpreted history and politics is proposed.
4
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Bosnia, Culture of Dialog, or Division? A Contribution to Discussion Based on 19 th Century Memories and Ethnographic Accounts

100%
Falski M.
Slavia Meridionalis
|
2007
|
vol. 7
31-49
EN
Bosnia is often viewed as a country of multiculturalism, or on the contrary, as a land of genuine hatred between different nations and religions. This paper's aim is to question these attitudes which simplify the image of Bosnian culture. The analysis of a few 19 th century texts, among them memories, ethnographical relations and letters, shows how the past can be interpreted. The paper emphasizes categories of social identity used by habitants of Bosnia, confronting them with social practices. In that way, it becomes clear that contemporary categories of nation and religion are not sufficient to describe the social divisions in 19 th century Bosnia. The sense of social affiliation was formed, according not only to ethnic identities, and these cannot be considered as equivalent to contemporary ones. A conclusion is that research on Bosnian culture should consider diverse social factors and levels of analysis.
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