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Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper reviews the phenomena of memorialization and culture of memory and forgetting on the example of cultural heritage in the territory of the Municipality of Budva, which affirms the memory of World War II. Particular focus will be placed on the cultural property status, the most numerous segments from this heritage, which comes in different types, forms and materialization, and also from different time periods, precisely from the early 1950s. Furthermore, the frameworks of the normative and institutional protection of memorials with the status of cultural property in Montenegro, which are the instrument of their protection, will be considered. The paper presents contribution of the authors in the fight against the increasingly present dangerous social tendencies (not only in our country), such as the revision of historical events and reoccurring attempts to equalize the collaborators movement with anti-fascist movement, but also against all frequently occurring practices of devastation of the memorials. [ABSTRACT FROM AUTHOR]

Copyright of Citaliste: The Scientific Journal on Theory & Practice of Librarianship is the property of Citaliste: The Scientific Journal on Theory & Practice of Librarianship and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents the specific legal nature of cultural goods and, from that aspect, the specific and numerous restrictions on property rights. As a special kind of object, which have special quality, functions and purpose in society, cultural goods are the object of a special property law arrangement. Such, especially property related regulation, in the case of cultural goods, is the result of the coexistence of individual (“private”) and public (social) interest in preserving cultural heritage as a general good of society. Restrictions on property rights on immovable cultural heritage, represent a specific concretization of the social attachment of property rights. As the main source of cultural property rights in the Republic of Serbia, the Law on Cultural Heritage, passed more than a quarter of a century ago, regulates the area of property rights on cultural goods incompletely and imprecisely, even in conflict with later regulations, the Constitution and the Law on Public Property. Numerous provisions on the rights and obligations of the owners of immovable cultural property are incomplete and imprecise and guarantees of property rights are insufficient. The paper also raises the issue of cultural property rights and property restrictions on immovable cultural heritage, which are at the same time worship temples, whose owners and users are churches and religious organizations (res sacrae). It is necessary to adjust the property restrictions of the owners of these immovable cultural heritage, to the specific needs of churches and religious organizations, as well as to further limit the possibility of encroachment on the right of ownership by public authorities. [ABSTRACT FROM AUTHOR]

Copyright of Contributions / Prilozi is the property of Institute for History, University of Sarajevo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Juznoslovenski Filolog is the property of Serbian Academy of Sciences & Arts, Institute for the Serbian Language and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Citaliste: The Scientific Journal on Theory & Practice of Librarianship is the property of Citaliste: The Scientific Journal on Theory & Practice of Librarianship and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Citaliste: The Scientific Journal on Theory & Practice of Librarianship is the property of Citaliste: The Scientific Journal on Theory & Practice of Librarianship and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zbornik is the property of Museum of Applied Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Bulletin of the Institute of Ethnography of the Serbian Academy of Sciences & Arts / Glasnik Etnografskog Instituta SANU is the property of Institute of Ethnography, SASA and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Zbornik is the property of Museum of Applied Art and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper examines international and supranational rules on good faith in the context o f restitution o f culturalproperty. Deviations from the general rules on goodfaith with regard to the goodfaith acquisition and adverse possession have been indicated. Instead o f insuring acquisition o f ownership in conjunction with otherpreconditions, goodfaith only entitles an acquirer o f the stolen or illegally exported cultural object to a fair compensation. The goodfaith presumption was abandoned and the burden o f proof was imposed on the possessor o f the cultural object. At the same time the criteria upon which the goodfaith ought to be evaluated had been tightened. Concerning gratuitous legal transactions, good faith o f a transferee depends on good faith o f a transferor. For that reason, a transferee will be prevented from claiming a fair compensation if it would not have been awarded to his transferor. Ultimately, the paper explores in which legal sources and in what manner certain EUMember States have implemented goodfaith stipulations enshrined in Directive 2014/60/EU. Based on that, the paper suggests possibilities o f harmonising law o f the Republic o f Serbia with the outlined supranational rules. [ABSTRACT FROM AUTHOR]

This paper deals with the many-faced crisis in the Orthodox Church in Serbia, visible in almost all aspects of its contemporary existence. Among the examples are those that point to the existence of the crisis of criteria, the crisis of consistency, the crisis of the sacred, the crisis of indiscriminate interpretation of history and its heritage, the crisis of "feeling for others", and the crisis of the sense of "the spirit of the times" and "the spirit of place". The paper also features the possible reasons why the professional community, primarily in the field of sociology, psychology, and (art) history, did not adequately deal with the aforementioned issues, with the view that this endeavour requires deep elaboration, as well as courage and objectivity, including the willingness to interpret all sides of history, ancient and modern, regardless of whether it is (predominantly) "light" or "dark". [ABSTRACT FROM AUTHOR]

Copyright of Arhivska Praksa is the property of Arhiv Tuzlanskog kantona & Drustvo arhivskih zaposlenika TK and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents a project implemented by the Museum and the Public Library in Zrenjanin, in order to overcome the problem of insufficient interest of young people in the homeland cultural heritage. The problem of insufficient openness of cultural institutions in communication with new generations was also noticed, which the participants in the project tried to solve by using storytelling learning techniques and by including various interactive, workshop elements. Using modern technologies, the workshops leaders tried to make the local heritage more understandable and attractive to the youth, as well as to encourage the children of primary school age to independently interpret the contents offered by the Library and the Museum. The work presents theoretical considerations on storytelling techniques and cooperation among heritage institutions, in order to give an answer as to why the model of work used in the workshops was chosen. Significant results of the project I Am Telling You a History were highlighted, which, in the author's opinion, consist in encouraging children to come to the Library and the Museum more often and more relaxed, in developing their interest in local history, and inspiring them to further explore local cultural heritage. Besides, better cooperation between these two cultural institutions has been established. The results after the two cycles of storytelling workshops in the museum can be seen through the data on how much has been done for the local community itself. Based on the great interest of schools to participate in the workshops and the reaction of participants, it can be concluded that the project was successful. An important conclusion is that successfully implemented projects that treat cultural heritage must be part of an enduring, well-designed and concrete national strategy. Individual projects can be very good, and achieve extremely good results, but if there is no continuity of quality, there are no lasting effects for the benefit of the local community. The aim of the text is to make it easier for interested professionals to work on the implementation of similar projects, given that we have not had them so far, at least according to the information available to the author. [ABSTRACT FROM AUTHOR]

This paper presents a brief historical overview of the principal characteristics of the cultural policy of France from the medieval to the present time, as well as the cultural identity of modern-day France and its principal characteristics: multi-cultural environment and multilingualism, and the belonging to both the European and the francophone culture. Even though the objectives of cultural policy were different in different periods and sometimes even seemed opposed, for more than two centuries now, a couple of objectives have been established as fundamental: awareness that cultural heritage should be protected and that, at the same time, the contemporary artists need well-organized financial and other support at the national level; and awareness that there are numerous distinct national cultures that deserve their place and reputation in modern society and that all those cultures (including the French culture) are a part of the broader European, even broader francophone, and the broadest world culture. [ABSTRACT FROM AUTHOR]

In this paper, learning to sing with the accompaniment of the gusle is reconsidered within the concept of the preservation of traditional folk music as an intangible cultural heritage, that is, as a specific form of music education. Having dealt with a traditional way of providing continuity in the practice of guslars` (i. e. gusle players) - which is learning by observing and imitating more experienced family members or guslars from nearby surrounding - some crucial moments in the history of singing with the accompaniment of the gusle, which also influenced the process of transmitting this skill, are demonstrated. In recent times, singing with the accompaniment of the gusle has been mastered not only within family circles but also in associations of guslars, at private schools of music, and lately there has also been an opportunity to learn this skill at some state schools of music. Accordingly, interviews with the members of an Association of guslars association that is particularly distinguished by the fostering young guslars, and interviews with gusle teachers and pupils who attend schools of music were used as primary sources for this paper, together with the specific experience of the author as a president of the jury in a young guslars' competition. Since the poetic content of the songs is primarily learnt from printed collections or audio recordings, future guslars in fact master the musical skills of playing and singing along the instrument, that is, the skill of the vocal interpretation of a chosen written poetic text. Concerning these, some programmes and methods are discussed, as well as their effects on young guslars' competence, principally from the point of style and aesthetics. Attention is particularly drawn to flaws in the teaching concept of future gusle players at state schools of music. In conclusion, the necessity of applying ethnomusicological findings to activities concerning the preservation of an intangible cultural heritage, in other words, the necessity of including teams of professionals in reforming the educational system and national cultural policy is established. [ABSTRACT FROM AUTHOR]

The paper examines international and supranational rules on good faith in the context of restitution of cultural property. Deviations from the general rules on good faith with regard to the good faith acquisition and adverse possession have been indicated. Instead of insuring acquisition of ownership in conjunction with other preconditions, good faith only entitles an acquirer of the stolen or illegally exported cultural object to a fair compensation. The good faith presumption was abandoned and the burden of proof was imposed on the possessor of the cultural object. At the same time the criteria upon which the good faith ought to be evaluated had been tightened. Concerning gratuitous legal transactions, good faith of a transferee depends on good faith of a transferor. For that reason, a transferee will be prevented from claiming a fair compensation if it would not have been awarded to his transferor. Ultimately, the paper explores in which legal sources and in what manner certain EU Member States have implemented good faith stipulations enshrined in Directive 2014/60/EU. Based on that, the paper suggests possibilities of harmonising law of the Republic of Serbia with the outlined supranational rules.

Copyright of Socioloski Pregled is the property of Srpsko Sociolosko Drustvo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Socioloski Pregled is the property of Srpsko Sociolosko Drustvo and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Though he received many accolades for his professional and academic work during his lifetime, we still await a comprehensive overview of Zdravko Kajmaković's professional and academic work and his contribution to scholarship and culture. It may confidently be stated, however, that he ranks among the leading scholars of the latter half of the twentieth century. In Bosnia and Herzegovina, he was a pioneer and founding figure in professional and academic circles, unrivalled in the field of heritage protection, the history of art, conservation and restoration, and the organization and execution of major, complex projects and actions; in his day, he was at the very forefront of Serbian culture and science. He was an erudite scholar, endowed with great talent and immense knowledge, as well as with the boundless energy he invested in his work. Dr Zdravko Kajmaković was one of the twentieth century's leading connoisseurs of Bosnia and Herzegovina's cultural heritage. [ABSTRACT FROM AUTHOR]