Audiovisual Media And Identity Issues In Southeastern Europe

The edited volume Audiovisual Media and Identity Issues in Southeastern Europe is an attempt to meet the challenges of text-based scholarship, to break medial one-dimensionality dictated by textuality and to shift the focus to the aural and visual dimensions of identity in a part of Europe heavily marked by the dynamics of political, cultural and social change, particularly during the last decades. The objective of this endeavour is to examine identity in Southeastern Europe by means of its communication media, specifically that of the photographic image and the sound recording. How are identities communicated? How are they performed and made physically perceptible? Brought to a point, the primary issue is one of how people perceive themselves and their environment on the basis of communication media, seen through a lens of different disciplines (social anthropology, ethnomusicology, media studies, sociology and history) and methodologies from the point of view of scholars from Southeastern Europe and their Western European colleagues. The book pursues a distinct comparative and historical perspective, examining the media representations from socialist and pre-socialist periods in relation to the role media play in the postsocialist discourse. Another focus is laid on local media representations and their impact on local self-images. This distinct historical and local approach allows new insights into how identities are constructed, performed and negotiated in the light of media, resulting in different forms of interpreting, re-appropriating and re-evaluting the past and traditions. This opens up questions on the role of media in relation to cultural policies and their potential to preserve or to transform local cultural heritage. The book is also an important contribution to the field of postsocialist studies in anthropology. It sheds a distinct cultural view on postsocialist transformation processes. Through a wide range of examples and first-hand results of basic field research from Greece, Bulgaria, Romania, Serbia, Albania and Slovenia this volume provides an opportunity for a comparative reconsideration of similar phenomena across national borders. It may serve also as a methodological reference work for scholars who are interested in the different ways of how to develop and practice “media reflexivity” in their own field research.

This volume brings together research contributions on the interface between media, identities and the public sphere in contemporary Europe. It contains information spanning theoretical insights and the elaboration of original case studies. Particularly welcome is the effort to bring together discussion on media industries and cultural identification and the experiences of East and West."-Paul Statham, Professor of Sociology, University of Bristol Mikl=s Snk÷sd is Associate Professor at the Journalism and Media Studies Centre, The University of Hong Kong. Karol Jakubowicz is Senior Adviser to the Chairman of the National Broadcasting Council of Poland.

The emergence of the Balkan national states in the nineteenth and twentieth centuries has long been viewed through an Orientalist lens, and their birth and evolution traditionally seen by scholars as the effect of the Ottoman Empire's decline. As a result, the role played by the great European revolutions, wars and intellectual developments is often neglected. Rejecting these traditional Orientalist narratives, this work examines Balkan nationalist movements within their broader European historical contexts. Drawing on a range of unused archival research and ranging from the Napoleonic era to the Bolshevik Revolution, contributors variously consider the complex roles played by Europe's internal geo-political ruptures in forming the Balkan states, and demonstrate how the Balkan intelligentsia drew inspiration from, and interacted with, contemporary European thought. Shedding light onto the strong intellectual, political and military interconnections between the regions, this is essential reading for all those studying Balkan and European history, as well as anyone interested in the question of national identity. Published in Association with the British Institute at Ankara

This edited volume is the result of the 8th Symposium of the ICTM Study Group Maqām in Sarajevo, Bosnia and Herzegovina, which brought together scholars from Germany, Turkey, Tunisia, Serbia, Malaysia, Finland, Slovenia and Bosnia and Herzegovina. In order to open up minds and to widen the horizons of discussions on historical traces and present music practices related to the maqām principle in Southern Europe and neighbouring regions, the general topic of the symposium, namely “Maqām: Historical Traces and Present Practice in South European Music Traditions”, was substructured into three special topics: “Between maqām and mode: the intermediate realms”; “Historical traces of Ottoman music in the Mediterranean Region”; and “Role and revival of religious genres in the Balkans”. The contributions included in this volume offer new insights and knowledge on various aspects of the Ottoman music culture and their stimuli in the Mediterranean region and especially in parts of the Balkans, as well as on general aspects of the maqām principle.

The first systematic attempt to focus on the instrumental role of silent cinema in early twentieth-century conceptualizations of the ancient Mediterranean and Middle East. It is located at the intersection of film studies, classics, Bible studies and cultural studies.

Written texts of the Iliad and the Odyssey achieved an unprecedented degree of standardization after 150 BCE, but what about Homeric texts prior to the emergence of standardized written texts? Orality, Textuality, and the Homeric Epics sheds light on that earlier history by drawing on scholarship from outside the discipline of classical studies to query from three different angles what it means to speak of Homeric poetry together with the word "text". Part I utilizes work in linguistic anthropology on oral texts and oral intertextuality to illuminate both the verbal and oratorical landscapes our Homeric poets fashion in their epics and what the poets were striving to do when they performed. Looking to folkloristics, part II examines modern instances of the textualization of an oral traditional work in order to reconstruct the creation of written versions of the Homeric poems through a process that began with a poet dictating to a scribe. Combining research into scribal activity in other cultures, especially in the fields of religious studies and medieval studies, with research into performance in the field of linguistic anthropology, part III investigates some of the earliest extant texts of the Homeric epics, the so-called wild papyri. By looking at oral texts, dictated texts, and wild texts, this volume traces the intricate history of Homeric texts from the Archaic to the Hellenistic period, long before the emergence of standardized written texts, in a comparative and interdisciplinary study that will benefit researchers in a number of disciplines across the humanities.

In music making “in company”, the protagonists have to follow the rules of interaction and create the cohesion of “being together”. At the same time, they try to promote personal goals that depend on specific personal treasure troves of experience. These are continuously being modified also as a result of the exchange between individuals. The perspective of the “individuals in company” leads the emphasis of the investigations to the ways in which the acts of performance, interpretation and local discourse give shape to creative processes in multipart music making and to the definition of the individual, collective and collaborative dimensions in this context. Focusing on the “creators” rather than on the “produced object”, the studies included in this volume explore the diversity of the roles, powers, symbolism, meanings and values given to the “polyphony of voices” in secular and religious traditions based on extensive fieldwork experience. The contributors to this volume also consider the UNESCO’s Intangible Cultural Heritage List in this context, as well as the role of local, national and international awards. By understanding “culture as a drug”, whose absorption is realised within interacting cells, culture appears as a cellular network and music as quite an efficient device for its functioning.