The Framing of Sacred Space offers the first topical study of canopies as essential spatial and symbolic units in Byzantine-rite churches. Centrally planned columnar structures--typically comprised of four columns and a roof--canopies had a critical role in the modular processes of church design, from actual church furnishings in the shape of a canopy to the church's structural core. As architectonic objects of basic structural and design integrity, canopies integrate an archetypical image of architecture and provide means for an innovative understanding of the materialization of the idea of the Byzantine church and its multi-focal spatial presence. The Framing of Sacred Space considers both the material and conceptual framing of sacred space and explains how the canopy bridges the physical and transcendental realms. As a crucial element of church design in the Byzantine world, a world that gradually abandoned the basilica as a typical building of Roman imperial secular architecture, the canopy carried tectonic and theological meanings and, through vaulted, canopied bays and recognizable Byzantine domed churches, established organic architectural, symbolic, and sacred ties between the Old and New Covenants. In such an overarching context, the canopy becomes an architectural parti, a vital concept and dynamic design principle that carries the essence of the Byzantine church. The Framing of Sacred Space highlights significant factors in understanding canopies through specific architectural settings and the Byzantine concepts of space, thus also contributing to larger debates about the creation of sacred space and related architectural taxonomy.
The Framing of Sacred Space offers the first topical study of canopies as essential spatial and symbolic units in Byzantine-rite churches. Centrally planned columnar structures--typically comprised of four columns and a roof--canopies had a critical role in the modular processes of church design, from actual church furnishings in the shape of a canopy to the church's structural core. As architectonic objects of basic structural and design integrity, canopies integrate an archetypical image of architecture and provide means for an innovative understanding of the materialization of the idea of the Byzantine church and its multi-focal spatial presence. The Framing of Sacred Space considers both the material and conceptual framing of sacred space and explains how the canopy bridges the physical and transcendental realms. As a crucial element of church design in the Byzantine world, a world that gradually abandoned the basilica as a typical building of Roman imperial secular architecture, the canopy carried tectonic and theological meanings and, through vaulted, canopied bays and recognizable Byzantine domed churches, established organic architectural, symbolic, and sacred ties between the Old and New Covenants. In such an overarching context, the canopy becomes an architectural parti, a vital concept and dynamic design principle that carries the essence of the Byzantine church. The Framing of Sacred Space highlights significant factors in understanding canopies through specific architectural settings and the Byzantine concepts of space, thus also contributing to larger debates about the creation of sacred space and related architectural taxonomy.
This book highlights the extent to which women were positioned as historical subjects in the process of constructing political, social, and cultural history in Yugoslavia, while simultaneously facing the politics of institutional exclusion and academic ignorance of progressive ideas and emancipatory struggles. To this effect, the book interprets a series of works written in interwar Yugoslavia by women or about women’s position in public space. The research corpus is varied, including LGBT literature, autobiographies, travelogues, literary correspondence, political writings, parody, bibliographies and dictionaries, etc. The book argues that women have been programmatically made absent from the so-called universal canon of (post)Yugoslav literature, or else negatively valorised or labeled, while at the same time women’s writing in interwar Yugoslavia reflected, articulated and mapped significant social, political and cultural issues. The book proposes a re-reading of the once censored and forgotten texts to counter the politics of exclusion that operates even today in the post-Yugoslav space. This re-reading is carried out in the light of contemporary feminist theories and aims to reveal and emphasise the emancipatory importance of women’s authorship. In this way, Jelena Petrović provides a fresh perspective on the topical issue of the still contested (post)Yugoslav space.
This book represents the first comprehensive century-long history of the disciplinary development of sociology in Serbia in English. It provides an overview of the constitution of sociology as an academic discipline during the interwar period, its reinstitutionalization after World War II in entirely new social circumstances marked by establishment of self-management socialism in Yugoslavia, and finally its development during the turbulent postsocialist period. Divided into five chapters, the focus of the book is on the challenges that sociology has faced in order to maintain its institutional position, gain adequate social recognition, and preserve its professional autonomy. Relying on Bourdieu's concept of the academic field and Burawoy's typology of Professional, Critical, Public and Policy sociology, the book seeks to answer the question of how the sociological academic field in Serbia has been constituted, structured and restructured, and in which of these roles sociology has dominantly appeared in different phases of its evolution.
Yellow Star, Red Star asks why Holocaust memory continues to be so deeply troubled—ignored, appropriated, and obfuscated—throughout Eastern Europe, even though it was in those lands that most of the extermination campaign occurred. As part of accession to the European Union, Jelena Subotić shows, East European states were required to adopt, participate in, and contribute to the established Western narrative of the Holocaust. This requirement created anxiety and resentment in post-communist states: Holocaust memory replaced communist terror as the dominant narrative in Eastern Europe, focusing instead on predominantly Jewish suffering in World War II. Influencing the European Union's own memory politics and legislation in the process, post-communist states have attempted to reconcile these two memories by pursuing new strategies of Holocaust remembrance. The memory, symbols, and imagery of the Holocaust have been appropriated to represent crimes of communism. Yellow Star, Red Star presents in-depth accounts of Holocaust remembrance practices in Serbia, Croatia, and Lithuania, and extends the discussion to other East European states. The book demonstrates how countries of the region used Holocaust remembrance as a political strategy to resolve their contemporary "ontological insecurities"—insecurities about their identities, about their international status, and about their relationships with other international actors. As Subotić concludes, Holocaust memory in Eastern Europe has never been about the Holocaust or about the desire to remember the past, whether during communism or in its aftermath. Rather, it has been about managing national identities in a precarious and uncertain world.
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