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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Katarina Jović;

    Rad će se usredotočiti na analizu potencijala glazbenog i vizualnog doživljaja u građanskim salonima tijekom fin de siècle. Idući ukorak s onovremenom transformacijom glazbenog iskustva, potaknutom uvjerenjima da izvedba instrumentalne glazbe u privatnom prostoru može stimulirati individualnu kontemplaciju, saloni krajem stoljeća postaju uređeni u skladu s načelima estetskog doživljaja koji objedinjuje auditivnu i vizualnu percepciju. Studija slučaja u ovom radu je salon obitelji Brajković iz Perasta u Boki kotorskoj, jedan od rijetkih glazbenih salona s kraja 19. stoljeća koji je sačuvao izvorno uređenje. U radu se tumači vizualna manifestacija glazbe u ovom salonu, njezina ikonografska obilježja i reprezentativna vrijednost. Interpretacija obuhvaća znanja i pristupe iz povijesti umjetnosti, a osim toga autorica će se osloniti i na spoznaje iz područja povijesti glazbe, povijesti filozofije i kulturne antropologije. Cilj rada jest analiza značenja, uloge i vrijednosti glazbenog salona kao osobitog estetskog i konceptualnog prostora koji se krajem 19. stoljeća pojavljuje na teritoriju Boke kotorske. The paper explores the potentialities of musical and visual experience in bourgeois salons of the fin de siècle. In response to the evolving musical experience within private spaces, where instrumental performances were believed to elicit individual contemplation, music salons of the late 19th century were organised in line with the principles of an aesthetic experience that unified auditory and visual perception. The case study in this paper is the salon of the Brajković family in Perast, Bay of Kotor, one of the rare music salons from the late 19th century that has preserved its original decor to the present day. The paper examines the visual manifestation of music in this space, its iconographic features and representative value, drawing upon insights and approaches from art history, as well as the history of music, philosophy, and cultural anthropology. The objective has been to analyse the meaning, role, and value of music salons as distinctive aesthetic and conceptual spaces present in the Bay of Kotor at the close of the 19th century.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ REFF - University of...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Ars Adriatica
    Article . 2024 . Peer-reviewed
    License: CC BY
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ REFF - University of...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Ars Adriatica
      Article . 2024 . Peer-reviewed
      License: CC BY
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Sanja Lukić;

    Američki nedeljnici Life i Time, pokrenuti u međuratnom periodu, vrhunac svog uspeha dostigli su za vreme Hladnog rata. Bavili su se različitim temama, od politike, ekonomije, religije i medicine do pitanja iz svakodnevnice, te su uticali na oblikovanje stavova svojih čitalaca, zahvaljujući inovativnom formatu i obilju fotografija. Istraživanje u ovom radu bilo je usmereno ka prepoznavanju i analiziranju niza sadržaja koji su se pojavljivali u ova dva nedeljnika od kraja Drugog svetskog rata, pa sve do smrti jugoslovenskog predsednika Josipa Broza Tita. Naročito se tematizuje pitanje uloge koju su časopisi odigrali u kreiranju slika o jugoslovenskom stanovništvu, njegovoj svakodnevnici, običajima, turizmu. The representation of Yugoslavia and its populace in Life and Time magazines from the end of World War II until the rise of the Communist Party of Yugoslavia in 1945 and the subsequent death of President Josip Broz Tito in 1980 was characterized by fluctuations that aligned with the volatility of relations between Washington and Belgrade. The accession of the communist regime to power was viewed as a foreseeable outcome, as the population of this region of Europe, due to their impoverished and uneducated state, was believed to be ill-equipped to comprehend and embrace the concept of democracy. Consequently, individuals were selectively chosen to be depicted in a positive light when Yugoslavia was once again considered an ally following the conflict with the Cominform in 1948. Nevertheless, the representation of the Yugoslav people was brief and superficial, lacking in any true endeavor to demonstrate empathy for their situation and hardships. In spite of efforts to showcase certain favorable aspects, the representation of Yugoslavia that evolved over time in the magazines was predominantly consistent with the Cold War preconceptions that Americans associated with communism. This representation was infused with elements of nineteenth-century imperial Balkanism, indicating that Life and Time were disinclined to deviate far from the predetermined framework and societal roles assigned to them.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Istorija 20. Vekaarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Istorija 20. Veka
    Article . 2024 . Peer-reviewed
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Istorija 20. Veka
    Article . 2024
    Data sources: DOAJ
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Istorija 20. Vekaarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Istorija 20. Veka
      Article . 2024 . Peer-reviewed
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Istorija 20. Veka
      Article . 2024
      Data sources: DOAJ
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Tijana Mačkić; Pavle Stamenović;

    This article is based on the analysis of the referential relationship within three concepts for the development of the urban matrix: High-rise City by Ludwig Hilberseimer (1924), No-Stop City by studio Archizoom Associati (1969), and Stop City by architectural office DOGMA (2007). The three projects represent a critique of the growth and development of the city within the economic system and the sociocultural context of the time. This research argues that each project finds its formal expression through referencing the former, adopting the programmatic, formative, and linguistic structures, which enable the reading of the authors’ interpretations and positions in relation to the generic properties of the urban matrix. Furthermore, the research aims to reveal the referential relationship between the aforementioned projects by comparing the critical positions they represent and the elements that constitute them.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao RAF - Repository of ...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao RAF - Repository of ...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Nevena Andrić‐Tomašević; Vladimir Simić; Dragana Životić; Nenad Nikolić; +5 Authors

    ABSTRACTTravertines are terrestrial carbonates that are commonly associated with fault activity in extensional and transtensional basins. The faults serve as conduits for the rising and mixing of carbonate‐enriched fluids with thermal and meteoric CO2 inputs promoting travertine precipitation at the surface. Therefore, travertine successions provide key constraint on the faulting, depositional environments, fluid flow and climate. This work focuses on the travertine succession in the Miocene Levač Basin, the marginal basin of the Morava Corridor situated at the junction of the Dinarides and the southernmost Carpathians. Detailed sedimentological, geochronological (U–Pb age, laser ablation – inductively coupled plasma – mass spectrometry) and structural analyses of the travertines are used to reconstruct the evolution of the feeding geoothermal system. Furthermore, these data were used to understand the controlling factors governing alternation of fluid flows enriched in thermally generated and meteoric CO2, and precipitation of travertines in Levač Basin, and finally to elucidate the late stage of basin evolution. Four facies associations are distinguished within the succession, i.e. travertine slope, ridge, flat, and travertine flat under the fluvial influence. The results demonstrated that travertine deposition was controlled by north‐west/south‐west and north‐east/south‐east normal fault arrays. Stable isotope data show positive δ13C values (with δ18O being negative) shifting to negative in the distal and stratigraphically younger deposits implying dilution of deep hydrothermal fluids by mixing with meteoric waters. Finally, travertine deposits yielded a new U–Pb age of ca 14 Ma indicating that the Middle Miocene extensional phase known from other intermountain basins in the Dinarides reached as far east as the Levač Basin and Morava Corridor.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Sedimentologyarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Sedimentology
    Article . 2024 . Peer-reviewed
    License: CC BY NC
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Sedimentologyarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Sedimentology
      Article . 2024 . Peer-reviewed
      License: CC BY NC
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Jadranka Đorđević Crnobrnja;

    Research endeavors within the domain of intangible cultural heritage, conducted within the Gorani community, highlight, among various aspects, the involvement of women in creating and transmitting knowledge and skills, which are perceived by the Gorani populace as a particularly important component of the Gorani tradition. Women are ascribed a key role in preserving Gorani cultural heritage. This study examines the activities of women in the Gorani community within the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage framework. The research is focused on knowledge, skills, and practices carried out by women, which unfold continually within the Gorani community during the twentieth and twenty-first centuries. It primarily concerns the knowledge and skills of women manifested through the tradition of designing and wearing clothing items, especially those pieces that have become over time an indispensable part of women’s ceremonial attire. The empirical data also encourages an examination of the role of women in shaping identity paradigms and symbols in the Gorani community, as well as their expression, transmission, and the assurance of the continuity of these practices. The analysis of women’s contribution to safeguarding the intangible cultural heritage of the Gorani community indicates that the preservation and protection of Gorani tradition, as understood and recognized by the participants in accordance with the UNESCO Convention defining heritage, are conditioned by the social, economic, and political circumstances shaping daily activities and everyday lives of the people in Gora, both within and beyond their native local environment. It is also obvious that Gorani’s interest in their own intangible cultural heritage is unmistakable, as demonstrated by social and cultural practices that would be impracticable without the existence of this heritage. The Gorani people’s aspiration to safeguard their own cultural heritage is viewed in the context of its contribution to the preservation and continuity of the Gorani identity, namely the identity of the Gorani community, which holds minority status in the Republic of Serbia. Diskurs sa kojim se susrećemo u goranskoj zajednici predstavlja ženu kao ključnog aktera u očuvanju goranske tradicije. U radu se aktivnosti žena u goranskoj zajednici sagledavaju u kontekstu Uneskove Konvencije o očuvanju i zaštiti nematerijalnog kulturnog nasleđa. Istraživanje je bilo usmereno ka znanjima, veštinama i praksama čiji su nosioci žene i koje se izvode u goranskoj zajednici u kontinuitetu više decenija. Analiza aktivnosti žena u procesu očuvanja goranskog kulturnog nasleđa podstiče takođe na sagledavanje njihovog doprinosa kreiranju identitetskih obrazaca i simbola u goranskoj zajednici, kao i obezbeđivanju kontinuiteta njihovog trajanja. Period druge polovine dvadesetog i prve dve decenije dvadeset prvog veka predstavljaju hronološki okvir istraživanja. Područje Gore predstavlja prostorni okvir istraživanja. Gora je planinska kotlina koju čine varošica Dragaš i okolna naselja, koja se nalaze na obroncima Šarplanine i Koritnika. Prostor Gore u identitetskom pogledu ima značaj matične teritorije za Gorance. Istraživanje pokazuje da su migracije stanovništva Gore izvan matične teritorije, a pre svega muške populacije, kako u prošlosti tako i u sadašnjosti značajno uticale na to da se žena nađe u poziciji „čuvara goranske tradicije”, kao i aktivnog prenosioca znanja i praksi koje se percipiraju kao ključne za očuvanje identitetskih simbola goranske zajednice.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Etnoantropološki Pro...arrow_drop_down
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    Etnoantropološki Problemi
    Article . 2024 . Peer-reviewed
    License: CC BY SA
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Etnoantropološki Problemi
    Article . 2024
    Data sources: DOAJ
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Etnoantropološki Pro...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Etnoantropološki Problemi
      Article . 2024 . Peer-reviewed
      License: CC BY SA
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Etnoantropološki Problemi
      Article . 2024
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    Authors: Marija Golubović;

    This paper will present the presence of Soviet music on the musical scene of the Kingdom of SCS/Yugoslavia. Analysis of newspaper articles and critiques, texts from music magazines, and other writings about Soviet music will demonstrate that it was present on concert stages, even though the Kingdom of Yugoslavia refrained from establishing relations with the Soviet Union until June 1940.

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    Токови историје
    Article . 2023
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    Токови историје
    Article . 2023 . Peer-reviewed
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      Токови историје
      Article . 2023
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      Токови историје
      Article . 2023 . Peer-reviewed
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    Authors: Arsić, Jasmina; Krajnović, Dušanka;

    The paper analyzes the eff ects of medicines policy on the functional separation of pharmacy and drugstore businesses from the early 19th century to the Second World War. Attempts to maintain personal and professional interests in the delivery of medicines prompted the long-standing dispute between pharmacists and druggists over the control and trade of drugs and poisons. Th e issue of state control generated complex processes that emphasized the professional role of pharmacists as providers of pharmaceutical services and druggists as wholesalers of medicines. У овом раду анализирани су ефекти политике лекова на функционално раздвајање апотекарског и дрогеријског пословања, од почетка 19. века, па до Другог светског рата. Дуготрајни спор између фармацеута и дрогериста око контроле и промета лекова и отрова био је инспирисан борбом за очување личних и професионалних интереса у снабдевању лековима. Питање државне контроле покренуло је сложене механизме који су истакли професионалну улогу фармацеута као носилаца апотекарске услуге и дрогериста као трговаца лековима на велико.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Токови историјеarrow_drop_down
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    Токови историје
    Article . 2023 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Токови историје
    Article . 2023
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      Токови историје
      Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      Токови историје
      Article . 2023
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Balvanović, Roman; Gajić-Kvaščev, Maja; Andrić, Velibor; Holclajtner-Antunović, Ivanka; +5 Authors

    The paper presents a short history of archaeometry investigations in Serbia, from the first published work in 1932 until today. It then describes the most important laboratories and institutions that perform archaeometry investigations in Serbia today, their teams, equipment, projects, and cooperation: Institute for the Protection of Cultural Monuments of Serbia, Vinča Institute of Nuclear Sciences, Faculty of Physical Chemistry, National Museum of Serbia, Institute of Archaeology, the Heritage Lab, Gallery of Matica Srpska Novi Sad, and City Museum of Subotica. The paper describes plans for the future and proposes forming of Serbian Society for Archaeometry with several goals: to further interconnect research disciplines; to facilitate better use and purchase of equipment, to establish a dedicated laboratory for archaeometry; to introduce archaeometry study programs at different levels of teaching; to introduce archaeometry into scientific plans of Serbia; to start a domestic archaeometry journal, and to promote the awareness of the potentials and benefits of archaeometry to institutions dealing with cultural heritage and to the general public.

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    Interdisciplinaria Archaeologica
    Article . 2023 . Peer-reviewed
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      Interdisciplinaria Archaeologica
      Article . 2023 . Peer-reviewed
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    Authors: Đurđica Stanković; Milica Topalović;

    Kulturno pamćenje kolektiviteta izgrađeno je na važnim, često traumatskim, ‎istorijskim momentima, koji se u svesti naroda rekonstruišu sakralizacijom, ‎prenose usmenom tradicijom i održavaju kreiranjem narativa koji posledično postaju formativni, integrativni i mobilišući faktor kolektivnog identiteta. ‎Uporišta sećanja i simboli kolektivnog identiteta pružaju permanentnost i stabilnost zajednice i na primeru Japana i na primeru Kosova*1‎. Iako je kontekst ‎proučavanja sećanja različit u dvema studijama slučaja, tačku spajanja dva ‎naizgled nespojiva primera, Japana i Kosova, autorke pronalaze u sećanju na ‎traumatske događaje i stradanja oba naroda kroz prizmu kulture sećanja kao ‎referentnog teorijskog modela. Posmatrano sočivima socijalnog konstruktivizma, rad teži da odgovori na pitanje da li sećanje na nuklearni napad može ‎da promeni i simplifikuje japanski identitet, i da istraži potencijal nastanka ‎nacionalnog mita na motivima stradanja i žrtve, kao što je to slučaj sa Koso vskim mitom. Takođe, istraživačka namera ogleda se u određivanju značaja, ali ‎i (zlo)upotrebe Kosovskog mita za istorijsko pozicioniranje srpskog naroda i ‎u izgradnji mi identiteta i u kreiranju distinkcije u odnosu na Druge. Ontološka bezbednost, kao naučen odnos sa Drugima kroz kulturu sećanja na zajed ničke (ne)slavne momente, nadgrađuje postojeće nalaze opšte teorije kulture ‎odgovorom na pitanje zašto je postojanje kolektivnih identiteta kroz kulturu ‎pamćenja bezbednosno aktuelna tema.‎‎

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    Politička Misao
    Article . 2023 . Peer-reviewed
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      Politička Misao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Aleksandar Ignjatović; Danica Milan Stojiljković;

    This article examines relationships between architecture and ideology in socialist Yugoslavia by exploring the cultural interpretation and appropriation of the Balkan house in achieving modern, specifically Yugoslav architectural expression. Through the contextualization of the period's different narratives on the Ottoman vernacular and various architectural designs related to it, the aim is to demonstrate how Yugoslav architects relied on Marxism to appropriate vernacular architecture into the modernist discourses. Dialectical materialism was used as a key for the interpretation of the opposition between what was seen as the negative and positive elements of the Balkan house, which challenged banal polarization between the traditional and modern and led to a more nuanced understanding of backwardness and progress in vernacular architecture. The idea of architectural metamorphoses of vernacular to modern forms was justified by evolution and revolution, the basic concepts of the Marxist understanding of processes in society and culture. The Yugoslav interest in the Balkan house represented a living, perceivable example of how the relationships between tradition and modernity, the past and the present, as well as men and their environment, became incorporated into new architecture of ‘socialism with a humane face’, which stood at the heart of Yugoslav social and political experiment.

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    Journal of Contemporary History
    Article . 2023 . Peer-reviewed
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
      Journal of Contemporary History
      Article . 2023 . Peer-reviewed
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    Authors: Katarina Jović;

    Rad će se usredotočiti na analizu potencijala glazbenog i vizualnog doživljaja u građanskim salonima tijekom fin de siècle. Idući ukorak s onovremenom transformacijom glazbenog iskustva, potaknutom uvjerenjima da izvedba instrumentalne glazbe u privatnom prostoru može stimulirati individualnu kontemplaciju, saloni krajem stoljeća postaju uređeni u skladu s načelima estetskog doživljaja koji objedinjuje auditivnu i vizualnu percepciju. Studija slučaja u ovom radu je salon obitelji Brajković iz Perasta u Boki kotorskoj, jedan od rijetkih glazbenih salona s kraja 19. stoljeća koji je sačuvao izvorno uređenje. U radu se tumači vizualna manifestacija glazbe u ovom salonu, njezina ikonografska obilježja i reprezentativna vrijednost. Interpretacija obuhvaća znanja i pristupe iz povijesti umjetnosti, a osim toga autorica će se osloniti i na spoznaje iz područja povijesti glazbe, povijesti filozofije i kulturne antropologije. Cilj rada jest analiza značenja, uloge i vrijednosti glazbenog salona kao osobitog estetskog i konceptualnog prostora koji se krajem 19. stoljeća pojavljuje na teritoriju Boke kotorske. The paper explores the potentialities of musical and visual experience in bourgeois salons of the fin de siècle. In response to the evolving musical experience within private spaces, where instrumental performances were believed to elicit individual contemplation, music salons of the late 19th century were organised in line with the principles of an aesthetic experience that unified auditory and visual perception. The case study in this paper is the salon of the Brajković family in Perast, Bay of Kotor, one of the rare music salons from the late 19th century that has preserved its original decor to the present day. The paper examines the visual manifestation of music in this space, its iconographic features and representative value, drawing upon insights and approaches from art history, as well as the history of music, philosophy, and cultural anthropology. The objective has been to analyse the meaning, role, and value of music salons as distinctive aesthetic and conceptual spaces present in the Bay of Kotor at the close of the 19th century.

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    Ars Adriatica
    Article . 2024 . Peer-reviewed
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      Ars Adriatica
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    Authors: Sanja Lukić;

    Američki nedeljnici Life i Time, pokrenuti u međuratnom periodu, vrhunac svog uspeha dostigli su za vreme Hladnog rata. Bavili su se različitim temama, od politike, ekonomije, religije i medicine do pitanja iz svakodnevnice, te su uticali na oblikovanje stavova svojih čitalaca, zahvaljujući inovativnom formatu i obilju fotografija. Istraživanje u ovom radu bilo je usmereno ka prepoznavanju i analiziranju niza sadržaja koji su se pojavljivali u ova dva nedeljnika od kraja Drugog svetskog rata, pa sve do smrti jugoslovenskog predsednika Josipa Broza Tita. Naročito se tematizuje pitanje uloge koju su časopisi odigrali u kreiranju slika o jugoslovenskom stanovništvu, njegovoj svakodnevnici, običajima, turizmu. The representation of Yugoslavia and its populace in Life and Time magazines from the end of World War II until the rise of the Communist Party of Yugoslavia in 1945 and the subsequent death of President Josip Broz Tito in 1980 was characterized by fluctuations that aligned with the volatility of relations between Washington and Belgrade. The accession of the communist regime to power was viewed as a foreseeable outcome, as the population of this region of Europe, due to their impoverished and uneducated state, was believed to be ill-equipped to comprehend and embrace the concept of democracy. Consequently, individuals were selectively chosen to be depicted in a positive light when Yugoslavia was once again considered an ally following the conflict with the Cominform in 1948. Nevertheless, the representation of the Yugoslav people was brief and superficial, lacking in any true endeavor to demonstrate empathy for their situation and hardships. In spite of efforts to showcase certain favorable aspects, the representation of Yugoslavia that evolved over time in the magazines was predominantly consistent with the Cold War preconceptions that Americans associated with communism. This representation was infused with elements of nineteenth-century imperial Balkanism, indicating that Life and Time were disinclined to deviate far from the predetermined framework and societal roles assigned to them.

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    Istorija 20. Veka
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    Istorija 20. Veka
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      Istorija 20. Veka
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      Istorija 20. Veka
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    Authors: Tijana Mačkić; Pavle Stamenović;

    This article is based on the analysis of the referential relationship within three concepts for the development of the urban matrix: High-rise City by Ludwig Hilberseimer (1924), No-Stop City by studio Archizoom Associati (1969), and Stop City by architectural office DOGMA (2007). The three projects represent a critique of the growth and development of the city within the economic system and the sociocultural context of the time. This research argues that each project finds its formal expression through referencing the former, adopting the programmatic, formative, and linguistic structures, which enable the reading of the authors’ interpretations and positions in relation to the generic properties of the urban matrix. Furthermore, the research aims to reveal the referential relationship between the aforementioned projects by comparing the critical positions they represent and the elements that constitute them.

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    Authors: Nevena Andrić‐Tomašević; Vladimir Simić; Dragana Životić; Nenad Nikolić; +5 Authors

    ABSTRACTTravertines are terrestrial carbonates that are commonly associated with fault activity in extensional and transtensional basins. The faults serve as conduits for the rising and mixing of carbonate‐enriched fluids with thermal and meteoric CO2 inputs promoting travertine precipitation at the surface. Therefore, travertine successions provide key constraint on the faulting, depositional environments, fluid flow and climate. This work focuses on the travertine succession in the Miocene Levač Basin, the marginal basin of the Morava Corridor situated at the junction of the Dinarides and the southernmost Carpathians. Detailed sedimentological, geochronological (U–Pb age, laser ablation – inductively coupled plasma – mass spectrometry) and structural analyses of the travertines are used to reconstruct the evolution of the feeding geoothermal system. Furthermore, these data were used to understand the controlling factors governing alternation of fluid flows enriched in thermally generated and meteoric CO2, and precipitation of travertines in Levač Basin, and finally to elucidate the late stage of basin evolution. Four facies associations are distinguished within the succession, i.e. travertine slope, ridge, flat, and travertine flat under the fluvial influence. The results demonstrated that travertine deposition was controlled by north‐west/south‐west and north‐east/south‐east normal fault arrays. Stable isotope data show positive δ13C values (with δ18O being negative) shifting to negative in the distal and stratigraphically younger deposits implying dilution of deep hydrothermal fluids by mixing with meteoric waters. Finally, travertine deposits yielded a new U–Pb age of ca 14 Ma indicating that the Middle Miocene extensional phase known from other intermountain basins in the Dinarides reached as far east as the Levač Basin and Morava Corridor.

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    Sedimentology
    Article . 2024 . Peer-reviewed
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      Sedimentology
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    Authors: Jadranka Đorđević Crnobrnja;

    Research endeavors within the domain of intangible cultural heritage, conducted within the Gorani community, highlight, among various aspects, the involvement of women in creating and transmitting knowledge and skills, which are perceived by the Gorani populace as a particularly important component of the Gorani tradition. Women are ascribed a key role in preserving Gorani cultural heritage. This study examines the activities of women in the Gorani community within the UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage framework. The research is focused on knowledge, skills, and practices carried out by women, which unfold continually within the Gorani community during the twentieth and twenty-first centuries. It primarily concerns the knowledge and skills of women manifested through the tradition of designing and wearing clothing items, especially those pieces that have become over time an indispensable part of women’s ceremonial attire. The empirical data also encourages an examination of the role of women in shaping identity paradigms and symbols in the Gorani community, as well as their expression, transmission, and the assurance of the continuity of these practices. The analysis of women’s contribution to safeguarding the intangible cultural heritage of the Gorani community indicates that the preservation and protection of Gorani tradition, as understood and recognized by the participants in accordance with the UNESCO Convention defining heritage, are conditioned by the social, economic, and political circumstances shaping daily activities and everyday lives of the people in Gora, both within and beyond their native local environment. It is also obvious that Gorani’s interest in their own intangible cultural heritage is unmistakable, as demonstrated by social and cultural practices that would be impracticable without the existence of this heritage. The Gorani people’s aspiration to safeguard their own cultural heritage is viewed in the context of its contribution to the preservation and continuity of the Gorani identity, namely the identity of the Gorani community, which holds minority status in the Republic of Serbia. Diskurs sa kojim se susrećemo u goranskoj zajednici predstavlja ženu kao ključnog aktera u očuvanju goranske tradicije. U radu se aktivnosti žena u goranskoj zajednici sagledavaju u kontekstu Uneskove Konvencije o očuvanju i zaštiti nematerijalnog kulturnog nasleđa. Istraživanje je bilo usmereno ka znanjima, veštinama i praksama čiji su nosioci žene i koje se izvode u goranskoj zajednici u kontinuitetu više decenija. Analiza aktivnosti žena u procesu očuvanja goranskog kulturnog nasleđa podstiče takođe na sagledavanje njihovog doprinosa kreiranju identitetskih obrazaca i simbola u goranskoj zajednici, kao i obezbeđivanju kontinuiteta njihovog trajanja. Period druge polovine dvadesetog i prve dve decenije dvadeset prvog veka predstavljaju hronološki okvir istraživanja. Područje Gore predstavlja prostorni okvir istraživanja. Gora je planinska kotlina koju čine varošica Dragaš i okolna naselja, koja se nalaze na obroncima Šarplanine i Koritnika. Prostor Gore u identitetskom pogledu ima značaj matične teritorije za Gorance. Istraživanje pokazuje da su migracije stanovništva Gore izvan matične teritorije, a pre svega muške populacije, kako u prošlosti tako i u sadašnjosti značajno uticale na to da se žena nađe u poziciji „čuvara goranske tradicije”, kao i aktivnog prenosioca znanja i praksi koje se percipiraju kao ključne za očuvanje identitetskih simbola goranske zajednice.

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    Etnoantropološki Problemi
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    Etnoantropološki Problemi
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      Etnoantropološki Problemi
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    Authors: Marija Golubović;

    This paper will present the presence of Soviet music on the musical scene of the Kingdom of SCS/Yugoslavia. Analysis of newspaper articles and critiques, texts from music magazines, and other writings about Soviet music will demonstrate that it was present on concert stages, even though the Kingdom of Yugoslavia refrained from establishing relations with the Soviet Union until June 1940.

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    Токови историје
    Article . 2023
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    Токови историје
    Article . 2023 . Peer-reviewed
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      Токови историје
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    Authors: Arsić, Jasmina; Krajnović, Dušanka;

    The paper analyzes the eff ects of medicines policy on the functional separation of pharmacy and drugstore businesses from the early 19th century to the Second World War. Attempts to maintain personal and professional interests in the delivery of medicines prompted the long-standing dispute between pharmacists and druggists over the control and trade of drugs and poisons. Th e issue of state control generated complex processes that emphasized the professional role of pharmacists as providers of pharmaceutical services and druggists as wholesalers of medicines. У овом раду анализирани су ефекти политике лекова на функционално раздвајање апотекарског и дрогеријског пословања, од почетка 19. века, па до Другог светског рата. Дуготрајни спор између фармацеута и дрогериста око контроле и промета лекова и отрова био је инспирисан борбом за очување личних и професионалних интереса у снабдевању лековима. Питање државне контроле покренуло је сложене механизме који су истакли професионалну улогу фармацеута као носилаца апотекарске услуге и дрогериста као трговаца лековима на велико.

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    Токови историје
    Article . 2023 . Peer-reviewed
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    Токови историје
    Article . 2023
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      Токови историје
      Article . 2023 . Peer-reviewed
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Balvanović, Roman; Gajić-Kvaščev, Maja; Andrić, Velibor; Holclajtner-Antunović, Ivanka; +5 Authors

    The paper presents a short history of archaeometry investigations in Serbia, from the first published work in 1932 until today. It then describes the most important laboratories and institutions that perform archaeometry investigations in Serbia today, their teams, equipment, projects, and cooperation: Institute for the Protection of Cultural Monuments of Serbia, Vinča Institute of Nuclear Sciences, Faculty of Physical Chemistry, National Museum of Serbia, Institute of Archaeology, the Heritage Lab, Gallery of Matica Srpska Novi Sad, and City Museum of Subotica. The paper describes plans for the future and proposes forming of Serbian Society for Archaeometry with several goals: to further interconnect research disciplines; to facilitate better use and purchase of equipment, to establish a dedicated laboratory for archaeometry; to introduce archaeometry study programs at different levels of teaching; to introduce archaeometry into scientific plans of Serbia; to start a domestic archaeometry journal, and to promote the awareness of the potentials and benefits of archaeometry to institutions dealing with cultural heritage and to the general public.

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    Interdisciplinaria Archaeologica
    Article . 2023 . Peer-reviewed
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      Interdisciplinaria Archaeologica
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    Authors: Đurđica Stanković; Milica Topalović;

    Kulturno pamćenje kolektiviteta izgrađeno je na važnim, često traumatskim, ‎istorijskim momentima, koji se u svesti naroda rekonstruišu sakralizacijom, ‎prenose usmenom tradicijom i održavaju kreiranjem narativa koji posledično postaju formativni, integrativni i mobilišući faktor kolektivnog identiteta. ‎Uporišta sećanja i simboli kolektivnog identiteta pružaju permanentnost i stabilnost zajednice i na primeru Japana i na primeru Kosova*1‎. Iako je kontekst ‎proučavanja sećanja različit u dvema studijama slučaja, tačku spajanja dva ‎naizgled nespojiva primera, Japana i Kosova, autorke pronalaze u sećanju na ‎traumatske događaje i stradanja oba naroda kroz prizmu kulture sećanja kao ‎referentnog teorijskog modela. Posmatrano sočivima socijalnog konstruktivizma, rad teži da odgovori na pitanje da li sećanje na nuklearni napad može ‎da promeni i simplifikuje japanski identitet, i da istraži potencijal nastanka ‎nacionalnog mita na motivima stradanja i žrtve, kao što je to slučaj sa Koso vskim mitom. Takođe, istraživačka namera ogleda se u određivanju značaja, ali ‎i (zlo)upotrebe Kosovskog mita za istorijsko pozicioniranje srpskog naroda i ‎u izgradnji mi identiteta i u kreiranju distinkcije u odnosu na Druge. Ontološka bezbednost, kao naučen odnos sa Drugima kroz kulturu sećanja na zajed ničke (ne)slavne momente, nadgrađuje postojeće nalaze opšte teorije kulture ‎odgovorom na pitanje zašto je postojanje kolektivnih identiteta kroz kulturu ‎pamćenja bezbednosno aktuelna tema.‎‎

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    Politička Misao
    Article . 2023 . Peer-reviewed
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      Politička Misao
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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Aleksandar Ignjatović; Danica Milan Stojiljković;

    This article examines relationships between architecture and ideology in socialist Yugoslavia by exploring the cultural interpretation and appropriation of the Balkan house in achieving modern, specifically Yugoslav architectural expression. Through the contextualization of the period's different narratives on the Ottoman vernacular and various architectural designs related to it, the aim is to demonstrate how Yugoslav architects relied on Marxism to appropriate vernacular architecture into the modernist discourses. Dialectical materialism was used as a key for the interpretation of the opposition between what was seen as the negative and positive elements of the Balkan house, which challenged banal polarization between the traditional and modern and led to a more nuanced understanding of backwardness and progress in vernacular architecture. The idea of architectural metamorphoses of vernacular to modern forms was justified by evolution and revolution, the basic concepts of the Marxist understanding of processes in society and culture. The Yugoslav interest in the Balkan house represented a living, perceivable example of how the relationships between tradition and modernity, the past and the present, as well as men and their environment, became incorporated into new architecture of ‘socialism with a humane face’, which stood at the heart of Yugoslav social and political experiment.

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    Journal of Contemporary History
    Article . 2023 . Peer-reviewed
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      Journal of Contemporary History
      Article . 2023 . Peer-reviewed
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