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Cet ouvrage explore les processus de dénomination des lieux et des populations dans les Balkans contemporains. Durant les deux dernières décennies, les pays de la région ont en effet vu se multiplier et s’intensifier les enjeux autour des désignations collectives : nécessité de nommer les nouveaux États issus de l’éclatement de la Yougoslavie, affirmation identitaire de minorités ethniques ou nationales, irruption de nouvelles catégories de population. De la Roumanie à la Grèce, de la Turquie à la Croatie, les textes rassemblés ici visent à la compréhension de ces processus dans le contexte balkanique. Pour cela, quatre thèmes ont retenu l’attention des auteurs : la désignation « Valaque », répandue dans toute la péninsule mais mouvante et difficile à cerner ; la dénomination des groupes minoritaires ou issus de l’immigration en Grèce ; les politiques toponymiques élaborées dans la région aux XIXe et XXe siècles ; la notion d’autochtonie et son articulation avec la dénomination des lieux et des groupes.

History --- identité culturelle --- ethnologie --- époque contemporaine --- autochtonie --- Balkans --- Chypre

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This is the first volume to offer an in-depth look at (lethal) violence in the Balkans. The Balkans Homicide Study analyses 3,000 (attempted) homicide cases from Croatia, Hungary, Kosovo, Macedonia, Romania and Slovenia. Shedding light on a region long neglected in terms of empirical violence research, the study at hand asks: - What types of homicides occur in the Balkans? - Who are the perpetrators and what motivates them? - Who are the victims and what potential protective factors are on their side? - Why do prosecutors dismiss homicide investigations? Amongst other questions and considerations, this brief discusses regional commonalities throughout the Balkans in view of their cultural,historical and normative context. Dismantling negative stereotypes of a growing and thriving Balkan society, this volume will be of interest to researchers in the Balkans, researchers of post-conflict regions, and those interested in the nature of homicide and its motivation, prevention, and various criminal justice approaches.

Crime & criminology --- Causes & prevention of crime --- violence --- homicide --- Balkans --- Balkan criminology --- Balkans homicide study --- european homicide research --- lethal violence --- Croatia --- Slovenia --- Hungary --- Romania --- Kosovo --- Macedonia

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À travers son œuvre littéraire, historique et politique, Safvet-beg Bašagić (1870-1934) a formulé les grandes problématiques du nationalisme bosno-musulman, alors que sa communauté reculait devant les exigences de modernisation qu’imposait la présence austro-hongroise depuis le Congrès de Berlin de 1878. Inspiré par les mouvements nationaux ottoman, croate et serbe du XIXe siècle, il a voulu établir une identité distincte de celles que fondaient ces mouvements en affirmant la spécificité religieuse et culturelle de ses coreligionnaires et compatriotes. Ces engagements étaient étroitement liés à la question agraire en Bosnie-Herzégovine : Bašagić a œuvré en conservateur, soulignant que la propriété de la terre était un droit historique du beylicat local, auquel il appartenait. De son vivant, il n’a pas joui de l’audience qu’il aurait espérée ; mais l’essentiel de ses thèses, malgré leur peu de sérieux scientifique, a fait florès aujourd’hui. Through his literary, historical and political oeuvre, Safvet-beg Bašagić (1870-1934) has formulated the great issues of bosnian-muslim nationalism, at a time when his community retreated from the demands placed upon it by the process of modernisation imposed by the austro-hungarian presence since the Berlin Congres of 1878. Inspired by ottoman, croat and serb nationalist movements of the 19th century, he attempted to establish an identity that was distinct from those of these movements by affirming the religious and cultural specificity of his fellow believers and compatriots. These engagements were intimately connected to the agrarian question in Bosnia-Herzegovina: Bašagić acted as a conservator, stressing that ownership of land was a historical right of the local beylicat, to which he belonged. During his lifetime he did not have the audience for which he would have wished; but the essential elements of his theses, despite their lack of scientific rigor, have flourished today.

History --- nationalisme --- orientalisme --- musulmans --- identité culturelle --- époque contemporaine --- Empire ottoman --- Balkans --- Bosnie-Herzegovine

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Resistance features a selection of overtly non-conformist positions in the contemporary visual art scene of Albania vis-à-vis the most recent social, political, and economic turmoils in the Western Balkans – a region marked by the dark side of political governances that have remained “democratic” in their outward appearance (especially toward the European Union), while dramatically leaning toward autocratic regimes in the eyes of their own citizens.Regardless of their citizens’ primary interests, and despite some positive signals surfacing in the international media, almost every attempt to establish lasting conditions for democratic governance in the Western Balkans has been shrouded in the veil of profit-driven political scandals, personal greed for more and more power over the people’s rights, and the extinction of public property in pursuit of social elite’s corporate and private interests. Additionally, and more specifically related to Tirana, artists and citizens have, over the years, been involved in various types of revolt, expressing their disagreements with the ongoing destruction of public property in the name of “modernization and development”: a movement led by local political powers through financially and strategically motivated processes of architectural cannibalism – not only at the expense of erasing Albanian cultural heritage or long-term residents’ habitats, but also at the expense of taking human lives under the pretext of “urbanization.” The most obvious instance of this economy of destruction was the complex of buildings linked to the National Theater of Albania in downtown Tirana that has served as a symbolic and material place of citizens’ resistance: for more than two years, together with local artists, they have been opposing the government’s plans to demolish the old complex in order to build a new one – until this finally happened in Spring 2020, in the midst of the ongoing COVID19 pandemic.Rooted in the atmosphere of the National Theater Protests in Tirana, RESISTANCE was conceived in Summer 2019 by ZETA Center for Contemporary Art as the International Artists-in-Residence Program, in cooperation with three partner organizations from Kosovo, Serbia and North Macedonia (Stacion – Center for Contemporary Art in Prishtina; Ilija & Mangelos Foundation in Novi Sad; and Faculty of Things That Can’t Be Learned in Bitola) and supported by Swiss Cultural Fund in Albania, a project of the Swiss Agency for Development and Cooperation. Gradually, the project expanded into an exhibition (Heterotopias of Resistance, curated by Blerta Hoçia and featuring works by Lori Lako, Fatlum Doçi, Edona Kryeziu, Nina Galiç, Darko Vukiç, Nikola Slavevski, and Natasha Nedelkova) and a series of interviews and panel discussions (with contributions by Lindita Komani, Edmond Budina, Ervin Goci, Ergin Zaloshnja, Pleurad Xhafa, Gentian Shkurti, Stefano Romano, Luçjan Bedeni, HAVEIT, Leonard Qylafi, Jonida Gashi, and Fatmira Nikolli). The results of both have been collected and presented in the format of a publication that, besides serving as an indispensable reading material concerning visual arts and politics in contemporary Albania, especially to those abroad, functions by itself as a form of resistance against contagious cultural policies in weak post-socialist “democracies” in Southeastern Europe.

Albania;art residency;political activism;political art;protest;resistance;Western Balkans

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The ‘pictorial turn’ has had significant impact on the human, cultural, religious and social sciences since the middle of the 1990s; theory construction has been primarily oriented towards the western world. This is why one of the primary aims of this volume is the enlargement of theory construction by a different point of view – the Balkan and the Near Eastern one. The central research question of the thesis is that photography opened the door to the visual culture of the West. Der pictorial turn, der seit der Mitte der 1990er Jahre die Geistes-, Kultur-, Religions- und Sozialwissenschaften beeinflusst, hat in seiner Theoriebildung bislang eine primär auf die westliche Welt bezogene Perspektive eingenommen. Es ist eines der Ziele des Buchs, die Theoriebildung aus einem anderen Blickwinkel – dem des Balkans und des Nahen Ostens – zu erweitern. Eine zentrale These lautet, dass die Fotografie das Tor zur visuellen Kultur des Westens öffnete.

Art and religion --- Art and society --- History. --- Balkan Peninsula --- Middle East --- Religion. --- Balkans --- Near East --- Visual Culture --- religion --- Balkan --- Naher Osten --- Visuelle Kultur --- Religion --- Fotografie --- Islam