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Settled in the nineteenth century, a period of national liberation, this book presents facts about the contribution of women to Serbian culture. The story is, however, of an equal contemporary as well as of historical relevance: work of these authors remained hidden as they were neither adequately evaluated in school curriculums and textbooks, nor recognized by the general public. Does the absence from textbooks and literary histories imply their literature is not worth reading? Or, that the histories of literature are simply biased and inadequate? The answers to these questions are elaborated in this book. The author carefully investigates the strategies of historians and official politics of remembrance, arguing that the link between women's education and emancipation of the society has yet to be properly explained. The reader, whether a student, researcher, social scientist, or an intellectual interested in the history, social development, literature, or politics of Serbia, or the Balkan in general, will benefit from the numerous original sources consulted. This book is a reminder that understanding society means uncovering the hidden and giving voice to the ignored, providing evidence that contradicts dominant theories, rather than simply repeating what we are told.
The author of this essay confesses that she has practised an exhumation exercise: an overwhelming work of research in which many names are hardly known (let alone recognised). The challenges of a work for which there is little precedent, and which was absolutely necessary, are numerous and varied: from the absence of documentation (or the difficulty of accessing it) to the over-representation of a large handful of linguists as opposed to the practical invisibility of the majority, to cite only the most obvious. Nevertheless, the result is an enjoyable and pedagogical read which documents the existence and contributions of more than 200 women who have worked in language-related disciplines. The book explores Western and Eastern sources in order to do justice to all those women who make this book meaningful.
Types and stereotypes is the fourth and last volume of a path-breaking multinational literary history that incorporates innovative features relevant to the writing of literary history in general. Instead of offering a traditional chronological narrative of the period 1800-1989, the History of the Literary Cultures of East-Central Europe approaches the region’s literatures from five complementary angles, focusing on literature’s participation in and reaction to key political events, literary periods and genres, the literatures of cities and sub-regions, literary institutions, and figures of representation. The main objective of the project is to challenge the self-enclosure of national literatures in traditional literary histories, to contextualize them in a regional perspective, and to recover individual works, writers, and minority literatures that national histories have marginalized or ignored. Types and stereotypes brings together articles that rethink the figures of National Poets, figurations of the Family, Women, Outlaws, and Others, as well as figures of Trauma and Mediation. As in the previous three volumes, the historical and imaginary figures discussed here constantly change and readjust to new political and social conditions. An Epilogue complements the basic history, focusing on the contradictory transformations of East-Central European literary cultures after 1989. This volume will be of interest to the region’s literary historians, to students and teachers of comparative literature, to cultural historians, and to the general public interested in exploring the literatures of a rich and resourceful cultural region.
This volume focuses on Serbia’s need to manage change while preserving community identities, a narrative that avoids the common depiction of Serbian culture as a hostile struggle between modernizers supporting foreign models and traditionalists advocating forms of national cultural patrimony. Traditions only function if they are allowed to bend to the necessary modifications demanded by a community’s changing historical circumstances. Tradition and change are two sides of the same coin which Serbia, in its many different incarnations, has experienced over the centuries, protecting its national heritage while borrowing and adapting intellectual and other trends from Byzantine, Ottoman and Western sources. Outside influences have been imposed as a direct result of foreign rule or through more friendly channels of communication, leading to a complex relationship between autochthonous and alien elements in Serbian society and culture. This book argues that the division between the national and international frameworks has often been a false dichotomy, with outside features embedded in domestic symbolic capital and Serbian culture simultaneously determined on local, national, regional and global levels. David A. Norris’s approach offers a new perspective to students, academics and general readers interested in the history of Serbia’s participation in the broad networks of cultural exchange.
DAH Theatre: A Sourcebook is a collection of essays about the work of one of the most successful and innovative performance groups in contemporary history. With a direct line of descent from Jerzy Grotowski and Eugenio Barba, DAH Theatre, founded during the worst of times in the former Yugoslavia, amidst a highly patriarchal society, predominantly run by women, has thrived now for twenty-five years. The chapters in this book, for the most part, have been written by both theatre scholars and practitioners, all of whom have either seen, studied with or worked with this groundbreaking troupe. What makes DAH so exceptional? The levels of innovation and passion for them extend far beyond the world of mere performance. They have been politically and socially driven by the tragedies and injustices that they have witnessed within their country and have worked hard to be a force of reconciliation, equity and peace within the world. And those efforts, which began on the dangerous streets of Belgrade in 1991, today, have reached throughout the world. Though they still make their home in Serbia, audiences from as far afield as New Zealand, Mongolia, Brazil and the U.S. have discovered their power – both in purely aesthetic terms and as passionate activists.
A History of Modern Political Thought in East Central Europe is a synthetic work, authored by an international team of researchers, covering twenty national cultures and 250 years. It goes beyond the conventional nation-centered narratives and presents a novel vision especially sensitive to the cross-cultural entanglement of political ideas and discourses. Its principal aim is to make these cultures available for the global 'market of ideas' and revisit some of the basic assumptions about the history of modern political thought, and modernity as such. The present volume is a sequel to Volume I: Negotiating Modernity in the 'Long Nineteenth Century'. It begins with the end of the Great War, depicting the colorful intellectual landscape of the interwar period and the increasing political and ideological radicalization culminating in the Second World War. Taking the war experience both as a breaking point but in many ways also a transmitter of previous intellectual traditions, it maps the intellectual paradigms and debates of the immediate postwar years, marked by a negotiation between the democratic and communist agendas, as well as the subsequent processes of political and cultural Stalinization. Subsequently, the post-Stalinist period is analyzed with a special focus on the various attempts of de-Stalinization and the rise of revisionist Marxism and other critical projects culminating in the carnivalesque but also extremely dramatic year of 1968. This volume is followed by Volume II: Negotiating Modernity in the 'Short Twentieth Century' and Beyond, Part II: 1968-2018.
For too long, studies lumped women's mental health with that of men, notwithstanding profound differences. This groundbreaking work decisively addresses that oversight as a team of expert scholars and therapists spotlights common female mental disorders, explores the causes, and explains available therapies. In the last two decades, feminist therapists and scholars have called for new models of mental health that value women and femininity. To that end, the four-volume Women and Mental Disorders brings together recent research and theory to explore its subject from a feminist perspective. This exhaustive set treats every aspect of women's mental health, from diagnoses to treatment. Underlying the entire work is an awareness of varying cultural definitions of mental health and the importance of understanding a woman's cultural background if treatment is to be respectful and successful. Special attention is also paid to women who have been victims of violence, whether in intimate relationships, the workplace, or at school, and to how these experiences impact mental and physical health, self-concept, interpersonal relationships, and career development. Approaches to treating women with eating disorders, agoraphobia, anxiety and depression, PTSD, and personality disorders are covered as well. Finally, the set provides resources to help readers address their own needs or those of friends and family.
This book sets out to search for the Second World - the (post)socialist context - in dance studies and examines the way it appears and reappears in today's globalized world. It traces hidden and invisibilized legacies over the span of one century, probing questions that can make viewers, artists, and scholars uncomfortable regarding dance histories, memories, circulations and production modes in and around the (post)socialist world. The contributions delve into a variety of dance practices (folk, traditional, ballet, modern, contemporary), modes of dance production (institutionalization processes, festival-making and market logics), and dance circulations (between centres and peripheries, between different genres and styles). The main focus is Eastern Europe (including Russia) but the book also addresses Cuba and China. The book's historical examples make the reader aware, too, of the (post)socialist bodies' influence in today's dance, including in contemporary dance scenes. The (post)socialist context promises to be a prosperous laboratory to explore uncomfortable questions of legitimacy. Whose choreographic work is staged as a 'quality' dance production? Which dance practices are worthy of scholarly study? What are the limits of dance studies' understanding of what dance is or should be? In view of reclaiming the Second World through dance, this book thus probes questions that should be asked today but are not easy to answer; questions that dance practitioners, facilitators, critics, and researchers, including ourselves, are often not at ease with either. In doing so, the cracks of dance history begin to be sealed, and neglected dance practices are written back into history, provided with the academic recognition that they deserve.
This book describes the real-life journeys of women psychotherapists: why each woman chose this profession and what she learned about others—and most importantly, about herself—in this choice. Most critically, these women now share how they have integrated this wisdom into their everyday lives. While psychotherapists may also be authors, few write books about their journeys in the profession. Women Psychotherapists: Journeys in Healing is one of those rare books. Each contributor invites her readers onto the road traveled by the woman who listens to others needing her help and guides them into living a more joyous, successful life, even as she moves towards greater fulfillment in her own life.