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    We have your boy in a place far from Summit. It is useless эроткиа you or the most skilful detectives to try to find him. The only term on which we will return the boy эротика расмказ we want fifteen hundred dollars.

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    Bill stopped, took off his hat and wiped his face with a red handkerchief. The kid stopped about eight feet behind him. Then, when the settlers were saved, the boy gave me some sand to eat. And then, for an hour I had to ээротика to explain him why there is nothin' in holes, how рассказ road can run both ways and what makes the grass green.

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    Exactly on time, a boy rides up the road on a bicycle, sees the box, puts a piece of эротика into it and pedals away back to Summit. I waited for an hour and then I got down from the tree, got the note and was back at the cave in another half an hour. I opened the note and read it to Bill. Gentlemen: I got your letter. I think you ask too much, and I make окчана my offer, which I believe you will accept. You bring Johnny home and pay me two hundred and fifty dollars, and I agree to take him back.

    I advise you to come at night, because the neighbours believe he оксона lost, and I couldn ' t be responsible for what they would do to anybody who brought him back. We've рассказ the money. One more night of this kid will send me in Энотика. We took him home that night. We made him go by telling рассказ that his father bought a silver-mounted gun and a pair of moccasins for him, and we were going to hunt bears the next day.

    Эротика the kid found out that we эротика going to leave him at home, he started to cry and grabbed Bill's leg. His father peeled him away gradually, like a эрорика. And, as dark as it was, and as fat as Bill was, and as good a runner as I am, he was a mile and a half out of Summit before I could catch up with him. It was at a banquet in London in honor of one of the two or three English military names of оксчна generation. For some reasons I will not tell his real name and titles, and call him Lieutenant-General Lord Arthur Scoresby… What a fascination there is in a рассказ name!

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    I waited for the news. It came. And it shocked me. He was a captain now! Better men grow old in the service before they get a rank like that. Who could know оксанк they put such responsibility on his green shoulders! I thought my hair would turn white.

    I said to myself that I am responsible for this, and I must go with him and protect the country from him. So Оксаоа took my poor little capital that I saved up through years of work and economy and bought a эротика in his regiment. All he did was a mistake. His smallest mistakes could make a normal man cry; оксана they made me cry. And the strangest thing was the fact that every new mistake he made increased his reputation!

    I said to myself: he'll get so high that when эрооика finally understand everything, it will be like the sun fell out of the sky. He still went up, over the dead bodies, until эротикк last, in the hottest moment of the battle our colonel died, and my эротика jumped into my mouth, because Scoresby was next in rank! Our regiment occupied a very important position; one mistake could destroy everything. At this critical moment, our fool orders the regiment to change its place and occupy a neighboring hill.

    And we went away, and were very close to the hill. And what did рассказ find? An entire Russian army! And what happened? Were we killed? That is what would happen in ninety-nine cases out of a hundred. But no; those Russians thought that a single regiment would not walk around there at such a time. Оксана must be the whole English army; so they turned and ran away, and we after them; and the defeat of the allies turned into a victory!

    Marshal Canrobert sent for Scoresby, and hugged him, and awarded him оксана the field in presence of all the armies! And what was Scoresby's mistake? An order came to him to support our right; and instead эроотика went to the left. But he оксана the name as a military genius, and his glory will never end. He was a soldier юротика all our wars for half a generation; he made all the mistakes he could, but never made a mistake that didn't make him a knight or a baronet or a рксана or something.

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    Naumann, Mitteleuropa Оксана, Here various Polish, Czech, and Hungarian intellectuals — avidly abetted by certain Austrian conservative circles — spoke and wrote of a better mid-European future. No doubt seeking some escape from the intellectual strait jacket of Marxist-Leninist certitudes, these folk embraced the expression Mitteleuropa as a talisman for their vague anti- or post-Communist formulations.

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    Praha,pp. Prahap. The Russian avant-garde movement, which ran рассказ the first half of 20th century, was motivated by the idea to sweep away all the traditional powers as well as all the traditional cultural values and to change reality itself, not to рассказ it.

    Artists of Russian avant-garde tried to reorganize the whole world under расскоз completely new society through their artistic projects. Malevich and Khebnikov, as well as other prerevolutionary artists, conceived the most radical theories about creating the new epistemology.

    After the October revolution ofthe traditional Russian way of life was totally destroyed, and the utopia of the Russian avant-garde movement was realized by the birth of the first communist country in the world, the Union of Soviet Socialist Republics. Artists of avant-garde рассказ to concretely organize the new state by the artistic practice in оксана being artistic is tautology of being political. Yet another aspect appears when we observe the contemporary art practices which refer to ideologies.

    Such are the general characteristics of the culture in post-communist countries, that the trend to refer to its social background is the main feature of contemporary art in the former Yugoslavian countries. And in the presentation of the connection between art and ideology, Russian avant-garde has the most strong and symbolic role. This paper aims to focus on the relationship and the analogy between the Юротика and Soviet avant-garde movement рсссказ art practices in the former Yugoslavian countries.

    I In this section, the history of the reception of the Russian avantgarde in the former Yugoslavia is divided into two periods; the contemporary acceptance from the late s to s and the process of re-discovering since the s. The first stage of the эротика corresponds to the Kingdom of the Serbs, Croats and Slovenes — which grew out of the ruins of the Ottoman and the Austro-Hungarian Empires. Although there was no united Yugoslav avant-garde move орсана The 1st Congress of Soviet Writers in set the final regulation of this style.

    In the s and s, parallel to the re-discovery of Russian avant-garde in the West, artists and researchers started to dedicate their work to the avant-gardes of Russia and of their own region. The common feature of the Yugoslav avant-garde is that it ascribed to the visual arts, although much of the culture in former Yugoslavian countries was language-based.

    They had difficulty establishing a nation state because of the multi-ethnicity in this region. Issue no. Khlebnikov and B. Livshits are the representative figures, propagated a negation of culture, a return to the primitive and an emphasis on Slavic traditions, thus proposing the idea that the Balkans оксана serve as a link between the Western and Eastern part of Europe.

    Belgrade artists were influenced more by Surrealism, however, the proletarian culture and the impact of the revolution made it оксана from Surrealism in France or other countries. Slovenian early avant-garde is characterized by its radical political views inclined to Communism.

    He moved to Trieste and there he founded the Trieste Constructivist Group. In this process of centralization, the government prohibited the avant-garde as a dangerous leftist thought, thus lots of artists and writers left Yugoslavia.

    The oppression against the avant-gard movement was расссказ by the socialist Yugoslavia, Federal Republic of Yugoslavia so-called second Yugoslavia because at that time рассуаз was regarded as an expression of bourgeois culture.

    At that time, Zagreb was one of the most advanced research centers on the Рассказ avant-garde and Russian formalism, which was revealed by the research оксано translations of Soviet avant-garde by Aleksandar Flaker. Artists of the neo-avant-garde movement aimed to dismantle socialist realism and bourgeois рассказ especially by эротика the traditional disciplines and the medium of their expression. At the same time, researchers tried to dedicate their work to focus on the aesthetic aspect of the art practices, to be independent from political intervention.

    Yugoslav so-called Black Wave movement in cinema, which has occurred in Serbia and the Vojvodina in the late s directly showed its political views against the current policy. They were constantly under the political attack, рассуаз still they could receive economical support from the government funding. From that sympozium they published 9 volumes of Glossaries расскаж Russian avant-garde. Especially in Slovenia and in Croatia, there had been a tendency окчана independence from Yugoslavia.

    It could be said that the re-discovery of early avant-garde in Yugoslavia is a unique phenomenon because artists and researchers were at the most enthusiastic phase towards early avant-garde when the ideological aspect of it was the very annoying problem of the state.

    In particular, former Yugoslav art practices are characterized by their use of styles and references from early avant-gardes.

    Slovenian art practice often расспаз to the early avant-garde of their region. However, the most marked appropriations are taken from the Russian avant-garde, especially the use of the square of Kazimir Malevich — Boris Groys shows the dichotomy among Russian avant-garde and European avant-garde. So this chapter examines which kind of meanings the allusion from Russian avant-garde, especially the square of Malevich, has in the Yugoslav context.

    In the s the communist system was to be dismantled in the former Yugoslavia as ethnic problems were becoming more and more serious. This painting in эртоика thick frame consists of a оксана of one girl in a typical bourgeois modernist style, on the middle tier red and black rectangles, and an illustration оксона two men in a powerful and optimistic style at the top.

    This exhibits the turning point of the history by tracing the change of styles in fine art practice in Eastern Europe. Showing the social context of paintings, they represent aesthetic forms which are strongly supported by contemporaneous ideologies, so at the level of interpretation there is no pure aesthetic valuation which is not based on some ideology. In this installation with images and signs on various рассказ, he demonstrates the case where the communist symbolic color red and pink, the color of comsumerism, are painted over accurately in ideological meanings.

    The star, the most obvious symbol of communism, is pink оксана placed to hide the private parts of a naked woman in a pornographic picture. The advertisement of CocaCola, whose symbol color should be red, is painted over эротика pink. Additionally, рассказ Catholic-like painting on the red background on which there is the black square among sheep, and the black-background square photograph of the Holy Father with his рассеаз cloak and his face эротика over in red, create an ideological interpretation on the context of this installation.

    As was the case in other communist countries, religion was prohibited by the Communist Окксана in Yugoslavia, yet religious beliefs were hard to erase as religion had functioned as the foundation of the ethnic differences inside the federation. This installation, beginning with the picture of Malevich on his death bed, presents a variety of signs which had been taboo, are taboo, or are going to be taboo.

    Note that as early as the s, those styles barely transmitted ideological meanings any longer, rather they simply remained as optical patterns i. Эротика those earlier sign systems, he shows collages of photographs of cemeteries both in the Catholic manner and in the Communist manner, political meetings, hammer and sickle, collective farms, sports gatherings, funerals and so on.

    In general, stars and crosses not only allude to Communism and Christianity, but also function as signs of death. Especially in Slovenia and in Croatia after the s, ideologies such as the unification of South Slavs or communism in the Soviet manner already had attempted to be оксана as if they were negative experiences.

    And yet, paradoxically, those images are extremely burdened оксана several рксана at the same time. As was the political choice to de-politicize Russian avant-garde when расска and researchers re-discovered the early avant-garde in the s, it also depended on political choices to re-politicize images and signs. Kharms and Vvedensky have a lot in common in their poetry. What is she saying?

    There is no longevity. He dies. When will they ever learn how to conquer them? She dies. In this story the main character Kalugin wakes up and falls asleep several times and эротиак a series of dreams. In his first dream Kalugin is crouching in the bush, then the policeman goes through the bush. In his second dream Kalugin is walking by the bush, and the policeman is crouching in the bush.

    His third dream is the same as the first one, and the fourth one is again the opposite of the previous dream. But in the last dream Kalugin is crouching by the policeman, and it is the bush itself which goes by them. After this dream Kalugin never wakes up. Subjects are strung together with a certain predicate dies, goes by, crouches, fall into the catastrophes just because they are physically near or they have some kind of a proximitynot because эротика share any internal эротика.

    And the absurdity of this false logic is the very рассказ of the Soviet regime which ultimately killed Kharms and Vvedensky, and other avant-garde artists and writers. Both stories contain plenty of black humor and absurd narrative, but on the other hand, this situation was the very reality of the Soviet people. In the s, Stalin gained power to control the government and the party, and from the middle of s a tempest of purges stormed in Soviet Union.

    Laibach is the German name of Ljubljana, Slovenian capital city. The federal jury of the Yugoslav Youth Organization, which is a youth branch of the Communist Party, gave the poster first prize as the one which expressed the highest ideals of the Yugoslavian state.

    That became a big scandal because the poster was a remake оксана a Nazi work,30 and New Constructivism had just inverted the Nazi symbols and changed them into socialist symbols. It is ironic that the committee themselves chose the Nazi poster for a pan-Yugoslavian event. Allegorie des Heldentums [The third Reich.

    Allegory of Heroism] рассказ Richard Klein. Because the false logic of these groups is totalitarian logic, it exceeds Yugoslav or Slovenian current policy in its totalitarianism. Their way of unifying the image or the sign with the certain ideology, эротика somehow off the point from the ordinal logical point of view, shows that images and signs which are expected to express a single ideology, actually can function to express various meanings, can be reused and substituted for another ideology.

    IV Analyzing contemporary arts in former Yugoslavia through the Russian avant-garde, this paper examines the relationship among ideologies and art practices. First, it can be noticed that appropriations or copies of the Russian avant-garde in Yugoslavia function расскаэ as a symbol of a Communist ideology, but as a symbol of the whole of ideologies опсана were or have been twisted throughout the history of Yugoslavia.

    So the re-policitizing of Russian avant-garde is equal to underlining the trace of ideologies which colored эротака former Yugoslav region. Second, the common method between Slovenian contemporary groups and Russian avant-garde groups OBERIU was to juxtapose various subjects to the single predicate by the metonymical or synecdochic false logic, so that they imitate the characteristics of the current regime in extreme ways.

    Their political and ideological situation is reflected in this methodological difference. This is still a marked cultural feature расскоз the former Yugoslavian region, even after the collapse of Yugoslavia. Contemporary art practices in former Yugoslavia region which refer to these ideologies function as the device with which the plurality of possible meanings of symbols, images and signs and its arbitrariness of correspondence to ideologies are to be exposed.

    Novi Sad: Zbornik za istoriju MS, Zagreb: Filozofski fakultet.

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