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Novo, neÄitano, nema posvete. Reset vs razum - Dragan VujiÄiÄ Godina izdanja: 2022 Broj strana: 221 Povez: Mek U Srbiji je uvoÄenje ideologije Zapada doÄekano sa otporom, koji nije bio mnogo glasan, ali je veoma uporan. Narod koji je video medijske manipulacije tokom bombardovanja 1999. nije, uprkos ogromnom naporu, resetovao svoju svest. Mit Kosovskog boja i Svetog Save se pokazao jaÄim od najveÄih medijskih imperija Zapada. Mala grupa (koja deluje skoro gerilski) intelektualaca, koja razotkriva medijske prevare, Äini vaĆŸan deo otpora. Zato je i ova knjiga dragoceno ĆĄtivo prave, pravoslavne Srbije.Dr Branimir NestoroviÄI nije ovde samo reÄ o razotkrivanju jednog istinskog zdruĆŸenog zloÄinaÄkog poduhvata, Äiji koreni seĆŸu desetinama godina unazad, veÄ i o onome na ĆĄta smo aludirali u samom naslovu ovog osvrta â gledanju na svet novim oÄima, sa druge strane ogledala. UÄvrĆĄÄivanju saznanja da niĆĄta nije onako kako nam je godinama i decenijama predstavljano, predavano u ĆĄkolama i univerzitetima, nuÄeno u obliku neupitnih, opĆĄteprihvaÄenih âistinaâ, ovenÄano oreolima ârespektabilnostiâ i â autorovih omiljenih meta raskrinkavanja â ânaukeâ i âstrukeâ.Aleksandar PaviÄ
James Whitaker - Diana vs. Charles: Royal Blood Feud Dutton, 1993 236 str. tvrdi povez stanje: dobro The explosive love story and full details behind Diana and Charles`s relationship have never been revealed ... until now. Their breakup sent shock waves around the world, as growing suspicions were officially confirmed: Their fairy-tale marriage was just that - a fairy tale. Not only was the lily-white veil stripped away from their private lives, but the British monarchy itself was suddenly under scathing scrutiny. After all the headlines, the whispers, the rumors, the damaging claims and counterclaims by intimate friends of each, the full inside story of Diana, Charles, and their doomed union is now revealed - by the one person uniquely qualified to tell the lurid and fascinating tale of royal romance, rivalry, and scandal. James Whitaker is famous in England as the authority on the Royal Family - the only journalist to have had access to all the members of the House of Windsor for more than two decades of exclusive reportage. At the same time, he knew the teenage Lady Diana Spencer long before the royal wedding bells. With vivid personality profiles of an awe-inspiring gallery of characters, with unblushing and authentic depictions of how the Royals live and love, with utter honesty about both the monarchy and the girl now exiled from its charmed circle, Diana vs. Charles offers the most staggering, far-reaching disclosures about the greatest personal crisis ever to shake the Royal Family. CONTENTS Acknowledgements Introduction 1 Camillagate 2 Squidgy 3 Dirty Tricks 4 Back to the Beginning 5 The Honeymoon is Over 6 Downfall of a Marriage 7 Spencers at War 8 The Way Forward Index Nonfiction, Biography, 0525937374, Princeza Dajana i princ Äarls
Simon vs. the Homo Sapiens Agenda - Becky Albertalli OdliÄno oÄuvana engleski jezik Sixteen-year-old and not-so-openly gay Simon Spier prefers to save his drama for the school musical. But when an email falls into the wrong hands, his secret is at risk of being thrust into the spotlight. Now Simon is actually being blackmailed: if he doesnât play wingman for class clown Martin, his sexual identity will become everyoneâs business. Worse, the privacy of Blue, the pen name of the boy heâs been emailing, will be compromised. With some messy dynamics emerging in his once tight-knit group of friends, and his email correspondence with Blue growing more flirtatious every day, Simonâs junior year has suddenly gotten all kinds of complicated. Now, change-averse Simon has to find a way to step out of his comfort zone before heâs pushed outâwithout alienating his friends, compromising himself, or fumbling a shot at happiness with the most confusing, adorable guy heâs never met.
Diane Cook - Man v. Nature Oneworld, 2020. Mek povez, 257 strana. Under the influence of their charismatic classics professor, a group of clever, eccentric misfits at an elite New England college discover a way of thinking and living that is a world away from the humdrum existence of their contemporaries. But when they go beyond the boundaries of normal morality their lives are changed profoundly and for ever. man vs nature
RAT SVETOVA: Herbert DĆŸordĆŸ Vels Naslov Rat svetova / Herbert DĆŸordĆŸ Vels ; adaptacija Ketrin Lej ; ilustracije Erik Skot FiĆĄer ; [prevodilac Radenko MilutinoviÄ] Jedinstveni naslov The War of the Worlds. srpski jezik Vrsta graÄe roman Ciljna grupa deÄje, opĆĄte Jezik srpski Godina 2011 Izdanje 1. izd. Izdavanje i proizvodnja ÄaÄak : PÄelica, 2011 (ÄaÄak : Svetlost) FiziÄki opis 111 str. : ilustr. ; 21 cm Drugi autori - osoba Vels, Herbert DĆŸordĆŸ, 1866-1946 = Wells, Herbert George, 1866-1946 FiĆĄer, Erik Skot = Fisher, Eric Scott MilutinoviÄ, Radenko = MilutinoviÄ, Radenko Zbirka Edicija Odabrani ilustrovani klasici ISBN 978-86-6089-220-3 (karton) OdliÄno oÄuvana knjiga. vs
Knjiga sa karikaturama 158 strana Nekoriscena. Who`d be a mother? Bob Gibbs has produced 80 brilliant cartoons depicting the ups and downs of motherhood, from conception and morning sickness to mother types (Scrummy Mummy vs. Scummy Mummy), toilet training, school days and holidays. With jokes and pertinent quotes to complement the cartoons, this is not just a perfect mother`s day gift but a great present for all those not-so-perfect mothers! Who`d be a mother when...you find yourself shouting things like, I brought you into this world, and I can take you out. Feedback: What you get when your baby doesn`t appreciate the mashed banana and avocado.
BIO SAM DUĆ A LOĆ EG DRUĆ TVA: Vladimir Visocki Naslov Bio sam duĆĄa loĆĄeg druĆĄtva : poezija i proza / Vladimir Visocki ; preveo s ruskog Andrij Lavrik Jedinstveni naslov PoŃziŃ i proza. srp Vrsta graÄe dr.knjiĆŸ.oblici Jezik srpski Godina 1997 Izdanje [1. izd.] Izdavanje i proizvodnja Novi Sad : Svetovi, 1997 (Novi Sad : MBM-plas) FiziÄki opis 174 str. ; 18 cm Drugi autori - osoba Lavrik, AndreĐč, 1964- = Lavrik, Andrej, 1964- Novikov, NikolaĐč VladimiroviÄ, 1911-1997 = Novikov, NikolaĂź VladimiroviÄ, 1911-1997 Krylov, A. E. Zbirka Biblioteka BIS ; knj. 45 ISBN 86-7047-279-1 (broĆĄ.) Napomene Prevod dela: PoŃziŃ i proza / Vladimir VŃsockiĐč. Äitamo Visockog / Vl. Novikov: str. 154-167 Komentari / A. Krilov: str. 168-174. Predmetne odrednice Visocki, Vladimir SemjonoviÄ, 1938-1980 Vladimir SemjonoviÄ Visocki (rus. VladiÌmir SemŃnoviÄ VŃsoÌckiĐč; Moskva, 25. januar 1938 â Moskva, 25. jul 1980) je bio ruski pevaÄ, pesnik, pozoriĆĄni i filmski glumac i pisac.[1] Visocki se smatra jednim od najveÄih ruskih umetnika svih vremena, koji je ostavio dubok i trajan trag u ruskoj kulturi. Postao je nadaleko poznat po svom jedinstvenom stilu pevanja i po svojim tekstovima, koji su sadrĆŸali druĆĄtvene i politiÄke komentare u Äesto duhovitom uliÄnom ĆŸargonu. TakoÄe je bio istaknuti scenski i filmski glumac. Iako ga je tokom ĆŸivota zvaniÄna vlast bivĆĄeg Sovjetskog Saveza uglavnom ignorisala, Visocki je dostigao veliku slavu i Äak i danas ima znaÄajan uticaj na mnoge ruske muziÄare i glumce Dobro oÄuvana knjiga. vs
ZEMLJA U KOJOJ SE NIKAD NE UMIRE: Ornela Vorpsi Naslov Zemlja u kojoj se nikad ne umire / Ornela Vorpsi ; preveo s italijanskog Aleksandar Levi Jedinstveni naslov Il paese dove non si muore mai. srpski jezik Vrsta graÄe roman Jezik srpski Godina 2023 Izdavanje i proizvodnja Beograd : Ć trik, 2023 (Beograd : Caligraph) FiziÄki opis 133 str. ; 20 cm Drugi autori - osoba Levi, Aleksandar, 1963- = Levi, Aleksandar, 1963- AksentijeviÄ, Aleksandra, srbista = AksentijeviÄ, Aleksandra, srbista Zbirka Kroz talase / [Ć trik] ISBN 978-86-89597-73-8 (broĆĄ.) Predmetne odrednice Vorpsi, Ornela, 1968- -- `Zemlja u kojoj se nikad ne umire` Sve sreÄne zemlje liÄe jedna na drugu, a svaka nesreÄna zemlja, pa⊠i one su dosta sliÄne jedna drugoj. Ili su ĆŸenama udarene zabrane, ili su bogati izvan zakona, ili je cenzura zamrzla svaku istinu. U nesreÄnim zemljama ipak nisu svi nesreÄni, kao ĆĄto ni u sreÄnim nisu svi sreÄni. Samo ĆĄto je u oba sluÄaja taj broj izuzetih mali, a u prvom sluÄaju je i straĆĄno pogreĆĄno ĆĄto je taj broj mali. U svom romanu Ornela Vorpsi govori o odrastanju junakinje u Albaniji za vreme vladavine Envera HodĆŸe, u jednoj zemlji u kojoj ljudi nikako ne umiru, jer su tako snaĆŸni i iskonski i nepobedivi, ali gde je opasno biti lepa ĆŸena, ili neupuÄeno dete koje rado prihvata slatkiĆĄe od starca, ili Äovek koji Äe reÄi ĆĄta misli u pogreĆĄno vreme, na pogreĆĄnom mestu. U ovoj zemlji, i tolikim zemljama, ljudi ne umiru â oni samo nestaju. Ovo je svakako i knjiga o tome koliko nas zemlja u kojoj smo roÄeni, odakle su nam sve pretkinje i preci, oblikuje u ĆŸivotu, i koliko utiÄe na to kakvi ljudi postajemo. OdliÄno oÄuvana knjiga. vs
Potpuno novo, neÄitano, kao iz knjiĆŸare. The Serbs Against the Wehrmacht - Miloslav SamardĆŸiÄ Godina izdanja: 2018 Broj strana: 256 Povez: Mek This book is a much needed addition to the historical record concerning Serbia and World War II. Meticulously researched and documented, it is a valuable resource for anyone seeking to understand this part of history.(Gregory A. Freeman, author of âThe Forgotten 500â. Excerpt from the English edition.)âThe Serbs vs. the Wehrmachtâ by Miloslav SamardĆŸiÄ takes a complete U-turn in relation to conventional, directed historiography characteristic of socialist government systems. The authorâs approach sends a clear message that the era when it was possible to use facts selectively is over. By applying the classical quantification method, he offers irrefutable data on the number of killed, wounded, and captured German soldiers. The documents clearly demonstrate the continuity, tenacity, and ubiquity of the Resistance and reflect the superiority of the general strategy and tactics pursued by the units of the Yugoslav Army (Chetniks under the command of General DraĆŸa MihailoviÄ) over those of Josip Broz Titoâs Partisans (Communists). In the earlier, directed historiography, the latter had been depicted as the champions of the anti-Nazi struggle. In fact, as it is documented and shown in this book for the first time, in the fall of 1943 the Partisans disrupted the most massive anti-Axis offensive in the Balkans prior to the arrival of the Red Army. That anti-Nazi operation was undertaken by the Chetniks, who were attacked by the Partisans from the rear.(Col. Dragan KrsmanoviÄ, ret. Former Director of the Military Archive in Belgrade. Excerpt from the Serbian edition.)
OdliÄno oÄuvano. Veliki format, sa zastitnom folijom. Tvrdi povez, kvalitetan papir. From the Oxford People series, Che is the story of the man behind the famous photographâa richly illustrated biography of the Marxist revolutionary, guerrilla leader, military theorist, and pop icon. Che Guevara was a Marxist revolutionary and an ally of Fidel Castro who became a major figure during the Cuban Revolution. Born into a middle-class family in Rosario, Argentina, he studied medicine, but after seeing terrible poverty in Latin America, he concluded that the only way to change society was through violent rebellion. He then became a champion for worldwide revolution. Since his death, Guevara has become a legendary political figure. His name is often equated with rebellion, revolution, and socialism. Others, however, remember that he could be ruthless and ordered prisoners executed without trial in Cuba. In any case, Guevaraâs life continues to be a subject ofgreat public interest and has been explored and portrayed in numerous books and films, including The Motorcycle Diaries. On October 9, 1967, he was executed by the Bolivian army, his hands were cut off, and preserved in formaldehyde to confirm his identity. After he died, âCheâ became an even bigger hero for revolution with Time magazine naming him one of the 100 most influential people of the twentieth century and an iconic photograph of him being cited as âthe most famous photograph in the world.â While Che Guevara documented his life meticulously, this book encapsulates him in one carefully crafted volume. The Oxford People series offers deep dives into the most influential people, subjects, and cultures from history. From horror-fiction legends like H. P. Lovecraft and Edgar Allen Poe, to historical heavyweights like Houdini and JFK, to the supernatural world of vampires, werewolves, and ghostsâOxford People encompasses it all. Other titles in this series include: Angels, Creating Sherlock Holmes, Edgar Allen Poe, Extreme Science, Gettysburg, Ghosts, Gunfighters, Houdini, HP Lovecraft, John F. Kennedy, Myths and Legends, Privates and Privateers, Roosevelt and Churchill, Royal Weddings, Skies of WWII, Tesla, Tesla vs. Edison, Vampires, Vikings, Werewolves, Women of Invention, Zombies.
George Orwell - Nineteen Eighty-Four ( 1984 ) IzdavaÄ - Wordsworth Editions Ltd, Herts, 2021 Series: Classics mek povez broj strana 432 format 21 x 13 cm NOVA knjiga!!! ENGLESKO izdanje na ENGLESKOM jeziku!!! The Thought Police, Doublethink, Newspeak, Big Brother â 1984 itself: these terms and concepts have moved from the world of fiction into our everyday lives. They are central to our thinking about freedom and its suppression; yet they were newly created by George Orwell in 1949 as he conjured his dystopian vision of a world where totalitarian power is absolute. In this novel, continuously popular since its first publication, readers can explore the dark and extraordinary world he brought so fully to life. The principal characters who lead us through that world are ordinary human beings like ourselves: Winston Smith and Julia, whose falling in love is also an act of rebellion against the Party. Opposing them are the massed powers of the state, which watches its citizens on all sides through technology now only too familiar to us. No-one is free from surveillance; the past is constantly altered, so that there is no truth except the most recent version; and Big Brother, both loved and feared, controls all. Even the simple act of keeping a diary â as Winston does â is punishable by death. In Winstonâs battle to keep his freedom of thought, he has a powerful adversary in OâBrien, who uses fear and pain to enter his very thought processes. Does 2+2 = 4? Or is it 5? We find out in Room 101. Nineteen Eighty-Four was Orwellâs last novel; but the world he created is always with us, as successive generations of readers find within it a mirror for their own times and a warning for the future. Our edition also includes the following selection of Orwellâs essays, column extracts and broadcasts: A Hanging; Spilling the Spanish Beans; Reviews of Jack London, The Iron Heel; H. G. Wells, When the Sleeper Awakes; Aldous Huxley, Brave New World; Ernest Bramah, The Secret of the League ; England Your England; Looking Back on the Spanish War; Arthur Koestler; The Prevention of Literature; Politics and the English Language; Why I Write; Politics Vs Literature; Sir Walter Raleigh; The Three Super-States of the Future; Persecution of Writers in USSR; Literature and Totalitarianism.
Nova knjiga, necitana, nema posvete. O joĆĄ poneÄem: Äetiri eseja o preobilju - Gorazd KocijanÄiÄ IzdavaÄ: Biblos Godina izdanja: 2022 Broj strana: 462 Format: 20 cm Povez: BroĆĄirani Sva Äetiri eseja o preobilju (a reÄ je o preobilju apofatiÄnog NiĆĄta, BoĆŸije blagodati koja nam daruje sve, a ponajpre biÄe samo) saÄinjena su iz dva dela: filosofsku raspravu prati teoloĆĄki postskriptum ili coda, koja je pisana iz ugla hriĆĄÄanske vere, a ujedno je i poziv u tu veru. Gorazd KocijanÄiÄ se u najnovijoj knjizi, koja s RazbiÄem i Erotikom, politikom itd. Äini filosofski sistem, usredsreÄuje na Äetiri teme: ĆŸivotinje, snove, jezik i niĆĄta. Autorova izvoÄenja zasnivaju se na spoznanju da ja kao ipostas nisam sam svoj gospodar, da mi je vlastito biÄe darovano. A kao biÄe, koje niÄe iz apofatiÄnog NiĆĄta, ne mogu dokraja prodreti u nedokuÄivost misaonih struktura koje su u osnovi svega bivajuÄeg. Iz te smerne ontoloĆĄko-gnoseoloĆĄke pozicije KocijanÄiÄ se poduhvata razmatranja savremene nauÄne dokse, uverenja da se stvari, kakve odista jesu, mogu pojmiti i izreÄi putem koji gradi nauka. Ali âĆĄtos nije u onome ĆĄto govorim, nego u (samo)pozicioniranju govornikaâ. Moderna doksiÄna pozicija nereflektovano upisuje ontologiju sveta u naĆĄu svakodnevnu svest. Otuda se prema ĆŸivotinjama i prirodi ophodimo kao da su nam sasvim na raspolaganju, snove smatramo niĆŸim oblikom svesnosti, prouzrokovanim naĆĄim mozgom, odnosno mehanizmima nesvesnog. Povodom jezika kreÄemo na osi laĆŸne dileme inatizam vs. konvencionalizam, dok NiĆĄta, koje je temelj svega bivajuÄeg, neprestano negiramo. Smrt pretvaramo u dogaÄaj unutar samog sveta. Nasuprot takvom redukcionizmu novog doba KocijanÄiÄ postavlja (post)fenomenoloĆĄku ipostatiÄku misao, koja se u odanosti totalitetu iskustva otvara za paradoks, za radikalnu Transcendenciju. Autor se pritom nadovezuje na misao Grka i svetih otaca, koji su znali da âputem askeze i molitve oÄiĆĄÄeni noĂ»s moĆŸe ugledati logose sveta, pa Äak i participirati u âdejstvimaâ (enĂ©rgeiai) samog Bogaâ. â Iz pogovora U. Zabukovec Gorazd KocijanÄiÄ (1964) slovenacki filozof, pesnik, publicista i prevodilac. Od jevrejskih tekstova preveo je i komentarisao starozavetnu defterokanonsku knjigu Varuhovu i defterokanonske dodatke uz knjigu Danilovu, napisao je tekstualna objaĆĄnjenja za Knjige Makavejske u novom slovenackom standardnom prevodu Svetoga Pisma (Ljubljana 1996.), preveo je izabranu poeziju najslavnijeg srednjevekovnog jevrejskog pesnika Jehude Halevija (Ljubljana 1997) i spis Vrijeme i drugi modernog francuskogfilosofa Emanuela Levinasa (Ljubljana 1996).Plod njegovog bavljenja grÄkom filosofijom je prevod i komentar Parmenidove poeme (Parmenid: Fragmenti, Maribor 1995) i Proklovih Osnova Bogoslovlja (Ljubljana 1999), a preveo je na slovenacki celokupna Platonova dela sa komentarima, zbog Äega je 2005. godine po anketi Delaproglasen za licnost Slovenije.
DAMIR AVDIÄ KUDA SESTRO Pogovor - Faruk Ć ehiÄ IzdavaÄ - Algoritam media, Beograd Godina - 2011 92 strana 19 cm ISBN - 978-86-6123-018-9 Povez - BroĆĄiran Stanje - Kao na slici, tekst bez podvlaÄenja SADRĆœAJ: JA SAM STO GODINA NIUĆ TA, MRTVOROÄENÄE ASFALTA Diplomatz Lucifer Dobro doĆĄli Po asfaltu i betonu Bratstvo i jedinstvo Komunist vs Nju BosniĆĄe Kultural RevoluĆĄn Neka neka London zove BUDI MIRAN KAO MINA Utopijom dojim Kakvo lijepo cvijeÄe raste BaĆĄ Revolucija je proĆĄla Miran kao mina Kome U novom mileniju Demokratija UmreĆŸi se Kuda sestro SJETIĆ LI SE ĆœIVIH Grana u vatri Brate Moj drug Abdulah Imam dvadeset i dvije BoljeÄe Lijeni spori mrtvi Ćœivot je raj Mrtvi su mrtvi Rahatluk DJECA SU TI OSTALA U MENI Svetac moĆŸda Tepaj mi Reci zlato DoÄi duĆĄo SjeÄaÄu se tebe ja Ljubavi Bejbe Budi ĆŸena vrijeme ti je NapustiÄu te O ALBUMU BEZ KORICA OsjeÄam se slobodnim Gdje si majko Sine Pogovor `Diplomatz, Bosanski psiho, pesnik sa elektriÄnom gitarom-upoznajte Damira AvdiÄa. PogreĆĄno bi bilo reÄi one man band, jer u pitanju je muziÄko--poetski fenomen(alac) kome, reklo bi se, bend i nije potreban, bar ne za ovo ĆĄto je sada naumio da vam ulije u svest, podsvest i atrofirano seÄanje. PogreĆĄno je reÄi, hard-core gitarista/vokal koji se bavi druĆĄtvenom problematikom - em je pleonazam, em je do-zla-boga banalizovano i uproĆĄÄeno. PogreĆĄno bi bilo i poreÄenje sa teksaĆĄkim trubadurima, jer njegovi performativni stihovi jednostavno nemaju tradiciju na koju bi se naslonili da predahnu, ali bi njegova gitara svakako mogla da ponese najveÄi od svih napisa koji jedna poĆĄtena gitara moĆŸe da nosi: ova maĆĄina ubija faĆĄiste. Ako de facto nije pogreĆĄno, a ono je neprimereno reÄi i kantautor, biÄe dovoljno samo AUTOR. Kakav AUTOR, AUTOR Äega? Pa, neÄete moÄi da odluÄite ĆĄta vas tu viĆĄe ĆŸulja, bode, kida i ujeda, heronejski usamljeni gitarski rifovi ili stihovi kojima Äovek reĆŸi, laje i zapomaĆŸe prema vama. Kad odsluĆĄate tri Damirova solo albuma, ili joĆĄ bolje - ĆŸivi nastup, kad vam pred oÄima prsne kako je Bosna prsla i zaĆĄto je joĆĄ uvek tamo, a sa njom i svi mi ostali nevini i neumeĆĄani, otvorite ovu knjigu da vam u tihom afterpartiju luciferovske lucidnosti stihovi na miru i natenane ospore ukus, savest i dobar san. Kad vam rifovima istera vosak iz uĆĄiju, lakĆĄe Äete Äuti i proÄitati ono ĆĄto ne ĆŸelite da sluĆĄate i Äitate. Damir AvdiÄ, pesnik sa elektriÄnom gitarom, stvara poeziju onako kako je to u datom vremenu i prostoru jedino i moguÄe Äiniti - poezija se laje, kroz distorziju.` Ako Vas neĆĄto zanima, slobodno poĆĄaljite poruku.
IzdavaÄ: Paideia, Beograd Biblioteka Poezija Izbor i beleĆĄke o piscima: Miodrag SibinoviÄ Povez: tvrd Broj strana: 314 + 298 + 340 PeÄatirane, neĆĄto malo podvlaÄenja i ĆĄtikliranja u drugoj knjizi, vrlo dobro oÄuvane. Izbor je napravljen u ĆŸelji da se iz njega moĆŸe ostvariti uvid u rusku poeziju na svim etapama njenog istorijskog razvoja, ali i da se iz ove knjige moĆŸe steÄi slika o umetniÄkoj vrednosti dela najznaÄajnijih ruskih pesnika od kraja X do poÄetka XXI veka.. KNJIGA I obuhvata: folklornu i umetniÄku liriku od kraja X do sredine XVII veka (izbor iz narodne lirike, odlomci ili celoviti zapisi lirskih tekstova iz letopisa i drugih saÄuvanih spomenika srednjovekovne kulture; izbor iz duhovne poezije); umetniÄku liriku baroka, klasicizma i sentimentalizma XVII i XVIII veka; lirske pesme epohe romantizma i realizma XIX veka, zakljuÄno sa simbolizmom s kraja XIX i iz prve Äetvrtine XX veka... Autori: Lomonosov, Sumarokov, DerĆŸavin, Karamzin, Ćœukovski, BaÄuĆĄkov, Krilov, Riljejev, Kiheljbeker, PuĆĄkin, Baratinski, A. Odojevski, Jazikov, PoleĆŸajev, Venevitinov, TjutÄev, Koljcov, Ogarjov, Ljermontov, Al. Tolstoj, Fet, Njekrasov, Majkov, Ap. Grigorjev, SluÄevski, Apuhtin, Vl. Solovjov, Minski, Anjenski, Nadson, Sologub, MereĆĄkovski, VjaÄ. Ivanov, Baljmont, Z. Hipijus, Bunjin, Brjusov, A. Dobroljubov, Guro, VoloĆĄin, Beli, Blok, i dr. KNJIGA II obuhvata: avangardistiÄku liriku futurizma, akmeizma, imaĆŸinizma, oberiuta, neoklasicista i liriku socijalistiÄkog realizma iz prve polovine i sredine XX veka; liriku religiozno-duhovnog toka ruske poezije... Autori: Kuzmin, D. Burljuk, Bedni, Hlebnjikov, Gumiljov, HodaseviÄ, A. KruÄonih, Kljujev, Ahmatova, Asejev, Pasternak, MandeljĆĄtam, Erenburg, Cvetajeva, Majakovski, Jesenjin, Bagricki, Tihonov, Antokoljski, Marijengof, Savin, Seljvinski, Surkov, Prokofjev, Isakovski, Zabolocki, Vedenski, Martinov, Harms, Kornilov, Kedrin, Tarkovski, Tvardovski, M. Petrovih, Lid. Aleksejeva, Vasiljev, Begholc, Poljakov, RuÄjov, TuĆĄnova, Simonov, Aliger, Dudin, Lukonjin, NarovÄatov, Vinokurov, MeĆŸirov, Drunjina, VanĆĄenkin... KNJIGA III obuhvata: liriku najnovijeg doba, stvaranu od sredine XX do poÄetka XXI veka na stazama izlaĆŸenja iz okvira socrealistiÄkog ukalupljivanja tematskog plana i poetike, destrukcije oficijelne poezije, ali i liriku nastojanja da se, nadovezivanjem na prethodno nasilno prekidanje njenih znaÄajnih tokova, vaspostavi jedinstvo emocije i svesti (kantautorska poezija neomodernizam, neoavangarda, postmodernizam lirika religiozno-duhovnog toka ruske poezije). Autori: Nabokov, Ć alamov, Satunovski, GaliÄ, Glazkov, Slucki, Samojlov, Holin, ReviÄ, OkudĆŸava, Sapgir, Gorbovski, BuriÄ, JevtuĆĄenko, Voznesenski, R. Kazakova, Ajgi, Matvejeva, Vs. Njekrasov, Rejn, Krasovicki, BobiĆĄev, Sulejmenov, Gorbanjevska, KuĆĄner, Sosnora, Rubcov, Ahmadulina, Moric, Ufland, Visocki, Aronzon, OvÄinikov, Vl. Kazakov, Kuprijanov, Ć entalinski, Prigov, Brodski, Kedrov, Primerov, Karpova, Limonov, Krivuljin, Gubanov, Stratanovski, Ohapkin, Alejnjikov, L. RubinĆĄtejn, Kublanovski, Erl, Irtenjev, Buznik, Ć varc, I. Ćœdanov, Sedakova, Monastirski, Vasiljkova, Birjukov, Suvorov, Lakoba, Gandlevski, Al. PoleĆŸajev, Jeromonah Roman (MatjuĆĄin), ParĆĄÄikov, Kibirov, Filipov, Novikov, Glavjuk, Zastirec, Cvelj, Maksimova, Elinjin, Korf, GolubniÄij, Poljakov, Amelin, Gronas, AnaniÄev, ZamĆĄov, Kalinjin, Mogutin, RiĆŸij, D. Sokolov... (K-109)
Knjiga je potpuno nova, necitana, kao iz knjizare. Svoj meÄu tuÄima i tuÄ meÄu svojima : sudbina ruskog oficira i jugoslovenskog generala Fjodora Mahina - Andrej VladimiroviÄ Ganin IzdavaÄ: Evoluta Godina izdanja: 2021 Broj strana: 464 Format: 22 cm Povez: Tvrdi RoÄen je u tradicionalnoj kozaÄkoj oficirskoj porodici u Sibiru, napredovao je u Äinovima kao frontovski oficir u Prvom svetskom ratu. Po izbijanju revolucije je stupio u najcrveniju partiju â kod social-revolucionara odnosno âeseraâ. Posle Oktobarske revolucije je priĆĄao boljĆĄevicima kod kojih je pravio karijeru âvojnog specijalisteâ â oficira pod komesarskom kontrolom. U novom naglom zaokretu preĆĄao je na stranu âeseraâ, koji su se u tom trenutku veÄ udruĆŸili sa belom gardom i predao je grad Ufu antiboljĆĄeviÄkim snagama. Bio je uspeĆĄan komandant antiboljĆĄeviÄkih snaga u PovolĆŸju u leto i jesen 1918. Ipak nemirnog duha ponovo se ukljuÄio u zaveru â protiv lidera belogardejskog pokreta admirala A. V. KolÄaka i atamana A. I. Dutova, zbog Äega je izgubio komandni poloĆŸaj i morao je da beĆŸi iz Rusije u emigraciju. PokuĆĄao je da se eksponuje u revolucionarnom duhu joĆĄ jednom i bio je umeĆĄan u tajni rad esera na podrĆĄci KronĆĄtatskom ustanku, pobune mornara u samom srcu boljĆĄeviÄke revolucije, u vojnoj luci kod Petrograda. U emigraciji skrasio se skrasio u Francuskoj ili ÄehoslovaÄkoj â utoÄiĆĄtima ruskih levih i âruĆŸiÄastihâ emigranata, veÄ je kao predstavnik organizacije Zemgor, koja se nalazila pod Ävrstom kontrolom esera, stigao u Jugoslaviju, gde su se koncentrisali monarhistiÄki orijentisani uÄesnici GraÄanskog rata i Älanovi njihovih porodica. U ovom neprijateljskom okruĆŸenju uspeo je da dobije simpatije birokrata iz centralnog aparata Ministarstva spoljnih poslova Jugoslavije, koji su mu pruĆŸali podrĆĄku dvadesetih i poÄetkom tridesetih godina. Posle zavoÄenja ĆĄestojanuarske diktature sreÄa se ponovo okreÄe leÄa F. J. Mahinu, koji je izgubio finansijsku podrĆĄku vlade jugoslovenskih diplomata. Utom u Beograd je stigao V. Pravdin â tajni agent sovjetske spoljnoobaveĆĄtajne sluĆŸbe, sa kojim je nemirni kozaÄki pukovnik uspostavio veze, i od njega i bio vrbovan za rad u NKVD. Aktivno se bavio javnom komunistiÄkom i prosovjetskom agitacijom sve do izbijanja Drugog svetskog rata. Okupio je oko sebe krug leviÄarski raspoloĆŸenih ruskih mladiÄa, koji su postali okosnica ilegalne organizacije â Saveza Svojetskih Patriota tokom nemaÄke okupacije. Posle nemaÄke okupacije otiĆĄao je iz Beograda za Crnu Goru, i nakon toga nekoliko nedelja proveo je u ĆĄtabu ÄetniÄkog voÄe DraĆŸe MihailoviÄa, Na kraju je preĆĄao kod partizana i sve do kraja rata bio je u Vrhovnom ĆĄtabu NOVJ. Napravio je vrsnu karjeru u Jugoslaviji, bio je osnivaÄ istorijskog odeljenja VĆ NOVJ (buduÄeg istorijskog instituta NarodnooslobodilaÄke vojske Jugoslavije). ZavrĆĄio je rat sa zvanjem general-pukovnika NOVJ, bio je deo zvaniÄne jugoslovenske delegacije u Moskvi 1945. Preminuo je u prvim mesecima posle rata. Sahranjen je u aleji narodnih heroja na Novom Groblju. Sve te liÄnosti u sebi je spojio jedan Äovek Äiji je ĆŸivotni put rekonstruisan u ovoj knjizi na osnovu dokumenata ruskih i inostranih arhiva.
VIRDĆœINIJA VULF 1-4 Komplet Komplet sadrĆŸi sledeÄe naslove: 1. Talasi 2. Znak na zidu 3. Orlando 4. IzmeÄu Äinova Naslov Talasi : roman / VirdĆŸinija Vulf ; prevela Milica MihajloviÄ Jedinstveni naslov The Waves. srpski jezik Vrsta graÄe roman Jezik srpski Godina 1991 Izdanje [1. izd.] Izdavanje i proizvodnja Novi Sad : Svetovi, 1991 (Beograd : `RadiĆĄa TimotiÄ`) FiziÄki opis 209 str. ; 21 cm Drugi autori - osoba MihajloviÄ, Milica, 1926-1986 = MihajloviÄ, Milica, 1926-1986 Zbirka Izabrana dela / VirdĆŸinija Vulf ; knj. 1 ISBN 86-7047-097-7 (karton sa omotom) Napomene Prevod dela: The waves / Virginia Woolf Na presavijenom delu omotnog lista beleĆĄka o autorki. Naslov Znak na zidu : kratka proza / VirdĆŸinija Vulf ; izbor i prevod Slavica StojanoviÄ Jedinstveni naslov The Complete Shorter Fiction. srpski jezik Vrsta graÄe kratka proza Jezik srpski Godina 1991 Izdanje [1. izd.] Izdavanje i proizvodnja Novi Sad : Svetovi, 1991 (Beograd : [`RadiĆĄa TimotiÄ`]) FiziÄki opis 203 str. ; 21 cm Drugi autori - osoba StojanoviÄ, Slavica Zbirka Izabrana dela / VirdĆŸinija Vulf ; Çknj. Ç2 SadrĆŸaj S a d r ĆŸ a j: Memoari jedne romansijerke (5-16); Znak na zidu (17-24); Kju Gardenz (25-31); Ävrsti predmeti (32-37); Nenapisani roman (38-48); KuÄa duhova (49-50); Jedno druĆĄtvo (51-64); GudaÄki kvartet (65-69); Udovica i papagaj: istinita priÄa (70-78); Trenuci postojanja (79-85); LovaÄko druĆĄtvo (86-93); Lapen i Lapenova (94-102); Reflektor (103-107); Legat (108-115); Skica proĆĄlosti (116-191). BeleĆĄke o priÄama / S. [Slavica] S. [StojanoviÄ] (193-202); ReÄ o izboru / Slavica StojanoviÄ (203-[204]. ISBN 86-7047-098-5 (karton sa omotom) Napomene Prevod dela: The Complete Shorter Fiction of Virginia Woolf Str. 193-202: BeleĆĄke o priÄama / S. [Slavica] S. [StojanoviÄ] Str. 203-[204]: ReÄ o izboru / Slavica StojanoviÄ. Naslov Orlando : roman / VirdĆŸinija Vulf ; prevela Slavica StojanoviÄ Jedinstveni naslov Orlando. srpski jezik Vrsta graÄe roman Jezik srpski Godina 1991 Izdanje [1. izd.] Izdavanje i proizvodnja Novi Sad : Svetovi, 1991 (Beograd : `RadiĆĄa TimotiÄ`) FiziÄki opis 196 str. ; 21 cm Drugi autori - osoba StojanoviÄ, Slavica, 1959- = StojanoviÄ, Slavica, 1959- Zbirka Izabrana dela / VirdĆŸinija Vulf ; knj. 3 ISBN 86-7047-099-3 (tvrdi povez sa omotom) Naslov IzmeÄu Äinova : roman / VirdĆŸinija Vulf ; prevod Slavica StojanoviÄ Jedinstveni naslov Between the acts. srpski jezik Vrsta graÄe roman Ciljna grupa odrasli, opĆĄte (lepa knjiĆŸevnost) Jezik srpski Godina 1991 Izdavanje i proizvodnja Novi Sad : Svetovi, 1991 (Beograd : `RadiĆĄa TimotiÄ`) FiziÄki opis 150 str., [8] listova s tablama : fotogr. ; 21 cm Drugi autori - osoba StojanoviÄ, Slavica, 1959- = StojanoviÄ, Slavica, 1959- Zbirka Izabrana dela / VirdĆŸinija Vulf ; Çknj. Ç4 ISBN 86-7047-100-0 (karton sa omotom) Napomene Prevod dela: Between the acts / Virginia Woolf BeleĆĄka o autoru i delu na presavitku omota TiraĆŸ 10.000 O biografiji VirdĆŸinije V. / Slavica StojanoviÄ: str. 133-146 HronoloĆĄka bibliografija VirdĆŸinije Vulf: str. 149-150 Predmetne odrednice Vulf, VirdĆŸinija, 1882-1941 OdliÄno oÄuvane knjige. vs
Knjiga je kao nova. Diana BudisavljeviÄ - NataĆĄa MatauĆĄiÄ IzdavaÄ: Laguna Godina izdanja: 2021 Broj strana: 399 Format: 25 cm Povez: Tvrdi Ko je bila, ĆĄta je uradila i zaĆĄto je osuÄena na zaborav Austrijanka Diana BudisavljeviÄ, roÄena Obekser (1891â1978), supruga uglednog zagrebaÄkog lekara Julija BudisavljeviÄa, organizovala je tokom Drugog svetskog rata izuzetno uspeĆĄnu akciju kojom je od sigurne smrti iz ustaĆĄkih logora izbavila najmanje 7000 srpske dece, organizovala njihov smeĆĄtaj i vodila detaljnu kartoteku kako bi roditelji nakon rata mogli da pronaÄu svoju decu. Akcija Diane BudisavljeviÄ je, po svom obimu, broju uÄesnika i broju spasene dece, predstavljala jednu od najsloĆŸenijih i nesumnjivo najhumanijih akcija takve vrste na podruÄju NDH i Äitave okupirane Evrope. U nadasve teĆĄkim ratnim uslovima ova hrabra ĆŸena pronaĆĄla je snage da slobodno misli i pruĆŸa aktivan graÄanski otpor ustaĆĄkom reĆŸimu. Po postignutim rezultatima njen otpor je imao sva obeleĆŸja herojskog dela, koje je zasluĆŸilo svoje mesto u pozitivnom istorijskom nasleÄu. Ali desilo se upravo suprotno. Äim su na scenu stupile nove komunistiÄke vlasti, toj heroini Drugog svetskog rata u potpunosti je onemoguÄen rad, oduzeta joj je kartoteka, a ona ŃĐ” potisnuta iz istorijskog seÄanja. Potiskivanje zasluga Diane BudisavljeviÄ nije tipiÄno samo za istoriografiju socijalistiÄke Jugoslavije. U aktuelnom zamahu istorijskog revizionizma akcija spasavanja srpske dece postala je deo âhumanitarneâ politike ustaĆĄkog reĆŸima, a ustaĆĄka drĆŸava jedna civilizovana drĆŸava koja je vodila brigu o svojim stanovnicima, pa tako i o srpskoj deci, koju je kao drĆŸavne neprijatelje i ânepodobneâ elemente najpre strpala u logore, a onda ih âhumanoâ iz njih spasavala. Nasuprot ovom ideoloĆĄkom laĆŸiranju istorije, dugogodiĆĄnji istraĆŸivaÄki rad istoriÄarke NataĆĄe MatauĆĄiÄ, utemeljen na izvornoj arhivskoj graÄi, na dnevniku Diane BudisavljeviÄ i njenoj ostavĆĄtini, recentnoj literaturi i svedoÄenjima savremenika, izneo je na videlo mnoge dosad nepoznate Äinjenice, koje su ranije bile mistifikovane ili politizovane, i tako ispravio istorijsku nepravdu koja je uÄinjena ovoj velikoj humanitarki i heroini Drugog svetskog rata. NataĆĄa MatauĆĄiÄ (1956, Beograd) na Filozofskom fakultetu u Zagrebu 1983. zavrĆĄila je studije istorije i arheologije. Po zavrĆĄetku studija zapoĆĄljava se u Muzeju revolucije naroda Hrvatske kao kustoskinja u Zbirci fotografija, filmova i negativa. Stekla je 2005. struÄno zvanje muzejske savetnice, a od 2016. na Äelu je Sustava muzeja zaduĆŸena za sve kulturno-istorijske zbirke i istorijske zbirke. Autorika je tridesetak muzejskih izloĆŸbi, od kojih je izloĆŸba âEl Shatt â zbjeg iz Hrvatske u pustinji Sinaja, 1944. â 1946.â, koju je organizatorski i struÄno vodila, osvojila nagradu Hrvatskog muzejskog druĆĄtva kao najbolji izloĆŸbeni projekat za 2008. godinu. Na temelju svog âProjekta transformacije Memorijalnog muzeja VĆ NOV i POJ i NKOJ u ZaviÄajni muzej otoka Visaâ realizovala je stalnu postavku pod nazivom âUsusret zaviÄajnom muzeju otoka Visaâ. Koautorka je stalne postavke Memorijalnog muzeja u Jasenovcu i autorika Spomen-sobe posveÄene Batinskoj bici u Batini. Predsednica je Upravnog vijeÄa Spomen-podruÄja Jasenovac od 1997. i Älanica IHRA (Internacionalne organizacije za sjeÄanje na Holokaust) u MMWG-u (Radnoj grupi za memorijalne muzeje). Od 2011. Älanica je meÄunarodne ekspertske grupe za izradu nove zajedniÄke postavke bivĆĄih republika Jugoslavije u DrĆŸavnom muzeju AuĆĄvic-Birkenau. Aktivno je uÄestvovala na dvadesetak nauÄno-struÄnih skupova koji se bave temama Drugog svetskog rata, kulturom seÄanja, muzeologijom te fotografijom i filmom kao izvorima za prouÄavanje istorije. Autorka je viĆĄe struÄnih i nauÄnih radova te nekoliko knjiga i muzejskih kataloga, od kojih se mogu istaÄi: Jasenovac â radni logor i logor smrti, Zagreb, 2003, Jasenovac â Fotomonografija, Zagreb, 2008, Jasenovac â Brief History, Zagreb, 2011,Â Ćœene u logorima NDH, Zagreb, 2013, Fond filmske graÄe u Zbirci fotografija, filmova i negativa, Zagreb, 2004, El Shatt â zbjeg iz Hrvatske u pustinji Sinaja 1944. â 1946., Zagreb, 2008. Objavila je 2016. nauÄni recenzirani Älanak âDiana BudisavljeviÄ: The Silent Truthâ u Revolutionary Totalitarianism, Pragmatic Socialism, Transition. Volume one: Titoâs Yugoslavia, Stories Untold. Na Filozofskom fakultetu u Zagrebu 3. februara 2020. odbranila je doktorsku disertaciju âDiana BudisavljeviÄ i graÄanska akcija spaĆĄavanja djece â ĆŸrtava ustaĆĄkog reĆŸimaâ.
POSLEDNJA DVA TABAKA U DRUGOJ KNJIZI SU PEÄELI DA SE ODVAJAJU OD OSTALIH LISTOVA, VIDI SE NA SLICI. ĐпОŃĐ°ĐœĐžĐ” ĐĐ°ŃĐžĐœĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ°. ĐĄĐŸŃĐžĐœĐ”ĐœĐžŃ. Đ 2-Ń ŃĐŸĐŒĐ°Ń . 1980. ĐĐ·ĐŽ-ĐČĐŸ: Đ„ŃĐŽĐŸĐ¶Đ”ŃŃĐČĐ”ĐœĐœĐ°Ń Đ»ĐžŃĐ”ŃĐ°ŃŃŃĐ°. ĐĐŸĐŽ: 1980. ĐĐŸĐ»-ĐČĐŸ ŃŃŃĐ°ĐœĐžŃ: 1-Đč ŃĐŸĐŒ 576, 2-Đč ŃĐŸĐŒ 544. ĐŃĐ”ĐłĐŸ 1120. Đ Đ°Đ·ĐŒĐ”Ń: 208Ń 135Ń 40ĐŒĐŒ. ĐĐ”Ń: 550 Đł. ĐșажЎŃĐč ŃĐŸĐŒ. ĐĐ”ŃДплŃŃ: ŃĐČĐ”ŃĐŽŃĐč. йОп ĐžĐ·ĐŽĐ°ĐœĐžŃ: ĐĐČŃĐŸŃŃĐșĐžĐč ŃĐ±ĐŸŃĐœĐžĐș. йОп ĐșĐœĐžĐłĐž: ĐŃĐșĐžĐœĐžŃŃĐžŃĐ”ŃĐșОД ĐžĐ·ĐŽĐ°ĐœĐžŃ. йОŃаж: 100 000. ĐĄĐŸŃŃĐŸŃĐœĐžĐ”: ĐĐœĐžĐłĐž ĐœĐŸĐČŃĐ”, ĐœĐ”ŃĐžŃĐ°ĐœĐœŃĐ”, Ń.Đș. ĐČ ŃĐ”ĐŒŃĐ” ĐŸĐșĐ°Đ·Đ°Đ»ĐŸŃŃ 2 ŃĐșĐ·Đ”ĐŒĐżĐ»ŃŃĐ° ĐŽĐČŃŃ ŃĐŸĐŒĐœĐžĐșĐ°. Đ„ŃĐ°ĐœĐžĐ»ĐžŃŃ ĐČ ĐșĐœĐžĐ¶ĐœĐŸĐŒ ŃĐșĐ°ŃŃ! ĐĐ ĐĐąĐĐĐ ĐĄĐĐĐĐ ĐĐĐĐĐ ĐąĐĐĐĐ: ĐąĐŸĐŒ 1 âą ĐŃ. Đ ĐŸĐ¶ĐŽĐ”ŃŃĐČĐ”ĐœŃĐșĐžĐč. ĐĐ°ŃĐžĐœĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° (ŃŃĐ°ŃŃŃ), ŃŃŃ. 5-24 âą ĐĄŃĐžŃ ĐŸŃĐČĐŸŃĐ”ĐœĐžŃ, ŃŃŃ. 26-350 âą ĐĐŸŃĐŒŃ o ĐĐ”ŃĐ”ŃĐ»ĐŸŃĐșĐž, ŃŃŃ. 352-362 o ĐĐŸŃĐŒĐ° ĐĐŸŃŃ, ŃŃŃ. 363-369 o ĐĐŸŃĐŒĐ° ĐĐŸĐœŃĐ°, ŃŃŃ. 370-391 o ĐĐŸŃĐŒĐ° ĐĐ”ŃŃĐœĐžŃŃ, ŃŃŃ. 392-405 o ХОбОŃŃ, ŃŃŃ. 406-410 o ĐĐČŃĐŸĐ±ŃŃ, ŃŃŃ. 411-416 âą ĐŃĐ°ĐŒĐ°ŃĐžŃĐ”ŃĐșОД ĐżŃĐŸĐžĐ·ĐČĐ”ĐŽĐ”ĐœĐžŃ o ЀДЎŃĐ° (ĐżŃĐ”ŃĐ°), ŃŃŃ. 418-476 âą Đ. ĐĄĐ°Đ°ĐșŃĐœŃ. ĐĐŸĐŒĐŒĐ”ĐœŃĐ°ŃОО, ŃŃŃ. 477-542 âą ĐĐ»ŃĐ°ĐČĐžŃĐœŃĐč ŃĐșĐ°Đ·Đ°ŃĐ”Đ»Ń ĐżŃĐŸĐžĐ·ĐČĐ”ĐŽĐ”ĐœĐžĐč, ŃŃŃ. 543-554 ĐąĐŸĐŒ 2 âą ĐĐČŃĐŸĐ±ĐžĐŸĐłŃĐ°ŃĐžŃĐ”ŃĐșĐ°Ń ĐżŃĐŸĐ·Đ° o ĐŃĐ”Ń Đž Đ”ĐłĐŸ ĐŒŃĐ·Đ”Đč (ŃĐžĐșĐ» ĐŸŃĐ”ŃĐșĐŸĐČ), ŃŃŃ. 6-144 âą ĐĐŸŃĐżĐŸĐŒĐžĐœĐ°ĐœĐžŃ ĐŸ ĐżĐŸŃŃĐ°Ń o ĐŃŃĐŸŃĐžŃ ĐŸĐŽĐœĐŸĐłĐŸ ĐżĐŸŃĐČŃŃĐ”ĐœĐžŃ (ŃŃŃĐ”), ŃŃŃ. 146-174 o ĐĐžĐČĐŸĐ” ĐŸ жОĐČĐŸĐŒ (ĐĐŸĐ»ĐŸŃĐžĐœ) (ĐŸŃĐ”ŃĐș), ŃŃŃ. 175-234 o ĐĐ»Đ”ĐœĐœŃĐč ĐŽŃŃ (ĐŸŃĐ”ŃĐș), ŃŃŃ. 235-289 o ĐĄĐ»ĐŸĐČĐŸ ĐŸ ĐĐ°Đ»ŃĐŒĐŸĐœŃĐ” (ĐŸŃĐ”ŃĐș, пДŃĐ”ĐČĐŸĐŽ Đ. ĐŃŃĐ°ŃĐŸĐČĐŸĐč), ŃŃŃ. 290-300 âą ĐĐŸĐč ĐŃŃĐșĐžĐœ o ĐĐŸĐč ĐŃŃĐșĐžĐœ (ĐŸŃĐ”ŃĐș), ŃŃŃ. 302-339 o ĐŃŃĐșĐžĐœ Đž ĐŃгаŃĐ”ĐČ (ĐŸŃĐ”ŃĐș), ŃŃŃ. 340-368 âą ĐĐžŃĐ”ŃĐ°ŃŃŃĐœĐŸ-ĐșŃĐžŃĐžŃĐ”ŃĐșОД ŃŃĐ°ŃŃĐž o ĐĐżĐŸŃ Đž лОŃĐžĐșĐ° ŃĐŸĐČŃĐ”ĐŒĐ”ĐœĐœĐŸĐč Đ ĐŸŃŃОО (ĐŸŃĐ”ŃĐș), ŃŃŃ. 370-393 o ĐĐŸŃŃŃ Ń ĐžŃŃĐŸŃОДĐč Đž ĐżĐŸŃŃŃ Đ±Đ”Đ· ĐžŃŃĐŸŃОО (ĐŸŃĐ”ŃĐș, пДŃĐ”ĐČĐŸĐŽ Đ. ĐŃŃĐ°ŃĐŸĐČĐŸĐč), ŃŃŃ. 394-424 o ĐĐČĐ° «ĐĐ”ŃĐœŃŃ ŃĐ°ŃŃ» (ĐŸŃĐ”ŃĐș), ŃŃŃ. 425-430 âą Đ. ĐĄĐ°Đ°ĐșŃĐœŃ. ĐĐŸĐŒĐŒĐ”ĐœŃĐ°ŃОО, ŃŃŃ. 431-502 Đ ĐŸĐ±ŃĐ”Đč ĐžŃŃĐŸŃОО ĐŸŃĐ”ŃĐ”ŃŃĐČĐ”ĐœĐœĐŸĐč ĐżĐŸŃзОО ĐĐ°ŃĐžĐœĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° ĐČŃДгЎа бŃĐŽĐ”Ń Đ·Đ°ĐœĐžĐŒĐ°ŃŃ ĐŸŃĐŸĐ±ĐŸĐ” ĐŽĐŸŃŃĐŸĐčĐœĐŸĐ” ĐŒĐ”ŃŃĐŸ. ĐĐŸĐŽĐ»ĐžĐœĐœĐŸĐ” ĐœĐŸĐČĐ°ŃĐŸŃŃŃĐČĐŸ ДД ĐżĐŸŃŃĐžŃĐ”ŃĐșĐŸĐč ŃĐ”ŃĐž бŃĐ»ĐŸ Đ”ŃŃĐ”ŃŃĐČĐ”ĐœĐœŃĐŒ ĐČĐŸĐżĐ»ĐŸŃĐ”ĐœĐžĐ”ĐŒ ĐČ ŃĐ»ĐŸĐČĐ” ĐŒŃŃŃŃĐ”ĐłĐŸŃŃ, ĐČĐ”ŃĐœĐŸ ĐžŃŃŃĐ”ĐłĐŸ ĐžŃŃĐžĐœŃ, бДŃĐżĐŸĐșĐŸĐčĐœĐŸĐłĐŸ ĐŽŃŃ Đ°. ĐĐŸŃŃ ĐżŃДЎДлŃĐœĐŸĐč ĐżŃĐ°ĐČĐŽŃ ŃŃĐČŃŃĐČĐ°, ĐĐ°ŃĐžĐœĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ°, ŃĐŸ ĐČŃĐ”Đč ŃĐČĐŸĐ”Đč ĐœĐ” ĐżŃĐŸŃŃĐŸ ŃĐ»ĐŸĐ¶ĐžĐČŃĐ”ĐčŃŃ ŃŃĐŽŃĐ±ĐŸĐč, ŃĐŸ ĐČŃĐ”Đč ŃŃĐșĐŸŃŃŃŃ Đž ĐœĐ”ĐżĐŸĐČŃĐŸŃĐžĐŒĐŸŃŃŃŃ ŃĐ°ĐŒĐŸĐ±ŃŃĐœĐŸĐłĐŸ ĐŽĐ°ŃĐŸĐČĐ°ĐœĐžŃ, ĐżĐŸ ĐżŃĐ°ĐČŃ ĐČĐŸŃла ĐČ ŃŃŃŃĐșŃŃ ĐżĐŸŃĐ·ĐžŃ ĐżĐ”ŃĐČĐŸĐč ĐżĐŸĐ»ĐŸĐČĐžĐœŃ ĐœĐ°ŃĐ”ĐłĐŸ ĐČĐ”ĐșĐ°. ĐĐ°ŃĐžĐœĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° ĐŸŃŃĐ°ĐČОла Đ·ĐœĐ°ŃĐžŃДлŃĐœĐŸĐ” ŃĐČĐŸŃŃĐ”ŃĐșĐŸĐ” ĐœĐ°ŃлДЎОД: ĐșĐœĐžĐłĐž лОŃĐžŃĐ”ŃĐșĐžŃ ŃŃĐžŃ ĐŸĐČ, ŃĐ”ĐŒĐœĐ°ĐŽŃĐ°ŃŃ ĐżĐŸŃĐŒ, ĐČĐŸŃĐ”ĐŒŃ ŃŃĐžŃ ĐŸŃĐČĐŸŃĐœŃŃ ĐŽŃĐ°ĐŒ, Đ°ĐČŃĐŸĐ±ĐžĐŸĐłŃĐ°ŃĐžŃĐ”ŃĐșŃŃ, ĐŒĐ”ĐŒŃĐ°ŃĐœŃŃ Đž ĐžŃŃĐŸŃĐžĐșĐŸ-лОŃĐ”ŃĐ°ŃŃŃĐœŃŃ ĐżŃĐŸĐ·Ń, ĐČ ŃĐŸĐŒ ŃĐžŃлД ŃŃŃĐ” Đž ŃĐžĐ»ĐŸŃĐŸŃŃĐșĐŸ-ĐșŃĐžŃĐžŃĐ”ŃĐșОД ŃŃŃĐŽŃ. Đ ŃŃĐŸĐŒŃ ĐœĐ°ĐŽĐŸ ĐŽĐŸĐ±Đ°ĐČĐžŃŃ Đ±ĐŸĐ»ŃŃĐŸĐ” ĐșĐŸĐ»ĐžŃĐ”ŃŃĐČĐŸ пОŃĐ”ĐŒ Đž ĐŽĐœĐ”ĐČĐœĐžĐșĐŸĐČŃŃ Đ·Đ°ĐżĐžŃĐ”Đč. ĐĐ°ŃĐžĐœĐ° ĐĐČĐ°ĐœĐŸĐČĐœĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° (1892â1941 гг.) â Đ·ĐœĐ°ĐŒĐ”ĐœĐžŃĐ°Ń ŃŃŃŃĐșĐ°Ń ĐżĐŸŃŃĐ”ŃŃĐ°, ĐżŃĐŸĐ·Đ°ĐžĐș, пДŃĐ”ĐČĐŸĐŽŃĐžĐș, ĐșĐŸŃĐŸŃĐ°Ń ŃĐČĐŸĐžĐŒ ŃĐČĐŸŃŃĐ”ŃŃĐČĐŸĐŒ ĐŸŃŃĐ°ĐČОла ŃŃĐșĐžĐč ŃлДЎ ĐČ Đ»ĐžŃĐ”ŃĐ°ŃŃŃĐ” XX ĐČĐ”ĐșĐ°. РДД ŃŃĐžŃ ĐŸŃĐČĐŸŃĐ”ĐœĐžŃŃ ŃŃĐșĐŸ ĐČŃŃĐ°Đ¶Đ”ĐœĐ° ĐŒŃĐ·ŃĐșĐ°Đ»ŃĐœĐŸŃŃŃ, ĐżĐŸŃĐșĐŸĐ»ŃĐșŃ ĐČ ĐŽĐ”ŃŃŃĐČĐ” ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° ĐŸĐ±ŃŃалаŃŃ ĐžĐłŃĐ” ĐœĐ° ŃĐŸŃŃĐ”ĐżĐžĐ°ĐœĐŸ. ĐĐ” ĐŸŃĐ”Ń Đ±ŃĐ» ĐżŃĐŸŃĐ”ŃŃĐŸŃĐŸĐŒ ŃĐœĐžĐČĐ”ŃŃĐžŃĐ”ŃĐ°, ĐŒĐ°ŃŃ â ĐżĐžĐ°ĐœĐžŃŃĐșĐŸĐč. ĐĄŃĐŸĐžŃ ĐșŃĐ°ŃĐșĐŸ Đ·Đ°ĐŒĐ”ŃĐžŃŃ, ŃŃĐŸ Đ±ĐžĐŸĐłŃĐ°ŃĐžŃ ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč ĐżĐŸĐżĐŸĐ»ĐœĐžĐ»Đ°ŃŃ ĐżĐ”ŃĐČŃĐŒĐž ŃŃĐžŃ Đ°ĐŒĐž Đ”ŃĐ” ĐČ ĐČĐŸĐ·ŃĐ°ŃŃĐ” ŃĐ”ŃŃĐž лДŃ. ĐĐ”ŃĐČĐŸĐ” ĐŸĐ±ŃĐ°Đ·ĐŸĐČĐ°ĐœĐžĐ” ĐżĐŸĐ»ŃŃОла ĐČ ĐĐŸŃĐșĐČĐ” ĐČ ŃĐ°ŃŃĐœĐŸĐč Đ¶Đ”ĐœŃĐșĐŸĐč ĐłĐžĐŒĐœĐ°Đ·ĐžĐž, ĐŸĐ±ŃŃалаŃŃ ĐČ ĐżĐ°ĐœŃĐžĐŸĐœĐ°Ń ĐšĐČĐ”ĐčŃĐ°ŃОО, ĐĐ”ŃĐŒĐ°ĐœĐžĐž, Đ€ŃĐ°ĐœŃОО. ĐĐŸŃлД ŃĐŒĐ”ŃŃĐž ĐŒĐ°ŃĐ”ŃĐž ĐĐ°ŃĐžĐœĐ° Đž ДД бŃĐ°Ń Đž ĐŽĐČĐ” ŃĐ”ŃŃŃŃ ĐČĐŸŃпОŃŃĐČалОŃŃ ĐŸŃŃĐŸĐŒ, ĐșĐŸŃĐŸŃŃĐč ŃŃĐ°ŃĐ°Đ»ŃŃ ĐŽĐ°ŃŃ ĐŽĐ”ŃŃĐŒ Ń ĐŸŃĐŸŃДД ĐŸĐ±ŃĐ°Đ·ĐŸĐČĐ°ĐœĐžĐ”. ĐĐ”ŃĐČŃĐč ŃĐ±ĐŸŃĐœĐžĐș ŃŃĐžŃ ĐŸŃĐČĐŸŃĐ”ĐœĐžĐč ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč бŃĐ» ĐŸĐżŃблОĐșĐŸĐČĐ°Đœ ĐČ 1910 ĐłĐŸĐŽŃ («ĐĐ”ŃĐ”ŃĐœĐžĐč Đ°Đ»ŃĐ±ĐŸĐŒÂ»). УжД ŃĐŸĐłĐŽĐ° ĐœĐ° ŃĐČĐŸŃŃĐ”ŃŃĐČĐŸ ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč ĐŸĐ±ŃĐ°ŃОлО ĐČĐœĐžĐŒĐ°ĐœĐžĐ” Đ·ĐœĐ°ĐŒĐ”ĐœĐžŃŃĐ” â ĐалДŃĐžĐč ĐŃŃŃĐŸĐČ, ĐĐ°ĐșŃĐžĐŒĐžĐ»ĐžĐ°Đœ ĐĐŸĐ»ĐŸŃĐžĐœ Đž ĐĐžĐșĐŸĐ»Đ°Đč ĐŃĐŒĐžĐ»ŃĐČ. ĐŃ ŃĐČĐŸŃŃĐ”ŃŃĐČĐŸ Đž ĐżŃĐŸĐžĐ·ĐČĐ”ĐŽĐ”ĐœĐžŃ ĐĐžĐșĐŸĐ»Đ°Ń ĐĐ”ĐșŃĐ°ŃĐŸĐČĐ° Đ·ĐœĐ°ŃĐžŃДлŃĐœĐŸ ĐżĐŸĐČлОŃлО ĐœĐ° ŃĐ°ĐœĐœĐ”Đ” ŃĐČĐŸŃŃĐ”ŃŃĐČĐŸ ĐżĐŸŃŃĐ”ŃŃŃ. Đ 1912 ĐłĐŸĐŽŃ ĐŸĐœĐ° ĐČŃĐżŃŃŃОла ĐČŃĐŸŃĐŸĐč ŃĐ±ĐŸŃĐœĐžĐș ŃŃĐžŃ ĐŸĐČ â «ĐĐŸĐ»ŃĐ”Đ±ĐœŃĐč ŃĐŸĐœĐ°ŃŃ». Đ ŃŃĐž ĐŽĐČĐ° ŃĐ±ĐŸŃĐœĐžĐșĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč ĐČĐŸŃлО ŃĐ°ĐșжД ŃŃĐžŃ ĐŸŃĐČĐŸŃĐ”ĐœĐžŃ ĐŽĐ»Ń ĐŽĐ”ŃĐ”Đč: «йаĐș», «РĐșлаŃŃД», «РŃŃĐ±Đ±ĐŸŃŃ». Đ 1913 ĐłĐŸĐŽŃ ĐČŃŃ ĐŸĐŽĐžŃ ŃŃĐ”ŃĐžĐč ŃĐ±ĐŸŃĐœĐžĐș ĐżĐŸŃŃĐ”ŃŃŃ ĐżĐŸĐŽ ĐœĐ°Đ·ĐČĐ°ĐœĐžĐ”ĐŒ «ĐĐ· ĐŽĐČŃŃ ĐșĐœĐžĐłÂ». ĐĐŸ ĐČŃĐ”ĐŒŃ ĐŃĐ°Đ¶ĐŽĐ°ĐœŃĐșĐŸĐč ĐČĐŸĐčĐœŃ (1917â1922 гг.) ĐŽĐ»Ń ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč ŃŃĐžŃ Đž ŃĐČĐ»ŃŃŃŃŃ ŃŃДЎŃŃĐČĐŸĐŒ ĐČŃŃĐ°Đ·ĐžŃŃ ŃĐŸŃŃĐČŃŃĐČОД. ĐŃĐŸĐŒĐ” ĐżĐŸŃзОО ĐŸĐœĐ° Đ·Đ°ĐœĐžĐŒĐ°Đ”ŃŃŃ ĐœĐ°ĐżĐžŃĐ°ĐœĐžĐ”ĐŒ ĐżŃĐ”Ń. Đ 1912 ĐłĐŸĐŽŃ ĐČŃŃ ĐŸĐŽĐžŃ Đ·Đ°ĐŒŃж Đ·Đ° ĐĄĐ”ŃĐłĐ”Ń ĐŃŃĐŸĐœĐ°, Ń ĐœĐžŃ ĐżĐŸŃĐČĐ»ŃĐ”ŃŃŃ ĐŽĐŸŃŃ ĐŃĐžĐ°ĐŽĐœĐ°. ĐŃĐŸŃĐ°Ń ĐŽĐŸŃŃ ĐĐ°ŃĐžĐœŃ, ĐŃĐžĐœĐ°, ŃĐŒĐ”Ńла ĐČ ĐČĐŸĐ·ŃĐ°ŃŃĐ” ŃŃĐ”Ń Đ»Đ”Ń. Đ 1925 ĐłĐŸĐŽŃ ŃĐŸĐŽĐžĐ»ŃŃ ŃŃĐœ ĐĐ”ĐŸŃгОĐč, ĐŽĐŸĐŒĐ° Đ”ĐłĐŸ лаŃĐșĐ°ŃДлŃĐœĐŸ ĐœĐ°Đ·ŃĐČалО «ĐŃŃ». Đ 1922 ĐłĐŸĐŽŃ ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° пДŃĐ”Đ”Đ·Đ¶Đ°Đ”Ń ĐČ ĐĐ”ŃĐ»ĐžĐœ, Đ·Đ°ŃĐ”ĐŒ ĐČ Đ§Đ”Ń ĐžŃ Đž ĐČ ĐĐ°ŃОж. ĐąĐČĐŸŃŃĐ”ŃŃĐČĐŸ ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč ŃĐ”Ń Đ»Đ”Ń ĐČĐșĐ»ŃŃĐ°Đ”Ń ĐżŃĐŸĐžĐ·ĐČĐ”ĐŽĐ”ĐœĐžŃ Â«ĐĐŸŃĐŒĐ° ĐłĐŸŃŃ», «ĐĐŸŃĐŒĐ° ĐșĐŸĐœŃа», «ĐĐŸŃĐŒĐ° ĐČĐŸĐ·ĐŽŃŃ Đ°Â». ĐĄŃĐžŃ Đž ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč 1922â1925 ĐłĐŸĐŽĐŸĐČ Đ±ŃлО ĐŸĐżŃблОĐșĐŸĐČĐ°ĐœŃ ĐČ ŃĐ±ĐŸŃĐœĐžĐșĐ” «ĐĐŸŃлД Đ ĐŸŃŃОО» (1928 Đł.). ĐĐŽĐœĐ°ĐșĐŸ ŃŃĐžŃ ĐŸŃĐČĐŸŃĐ”ĐœĐžŃ ĐœĐ” ĐżŃĐžĐœĐ”ŃлО Đ”Đč ĐżĐŸĐżŃĐ»ŃŃĐœĐŸŃŃĐž Đ·Đ° ĐłŃĐ°ĐœĐžŃĐ”Đč. ĐĐŒĐ”ĐœĐœĐŸ ĐČ ĐżĐ”ŃĐžĐŸĐŽ ŃĐŒĐžĐłŃĐ°ŃОО ĐČ Đ±ĐžĐŸĐłŃĐ°ŃОО ĐĐ°ŃĐžĐœŃ ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč Đ±ĐŸĐ»ŃŃĐŸĐ” ĐżŃĐžĐ·ĐœĐ°ĐœĐžĐ” ĐżĐŸĐ»ŃŃОла ĐżŃĐŸĐ·Đ°. ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° пОŃĐ”Ń ŃĐ”ŃĐžŃ ĐżŃĐŸĐžĐ·ĐČĐ”ĐŽĐ”ĐœĐžĐč, ĐżĐŸŃĐČŃŃĐ”ĐœĐœŃŃ ĐžĐ·ĐČĐ”ŃŃĐœŃĐŒ Đž Đ·ĐœĐ°ŃĐžĐŒŃĐŒ ĐŽĐ»Ń ĐœĐ”Ń Đ»ŃĐŽŃĐŒ: ĐČ 1930 ĐłĐŸĐŽŃ ĐœĐ°ĐżĐžŃĐ°Đœ ĐżĐŸŃŃĐžŃĐ”ŃĐșĐžĐč ŃĐžĐșĐ» «ĐĐ°ŃĐșĐŸĐČŃĐșĐŸĐŒŃ; ĐČ 1933 Đł. â «ĐĐžĐČĐŸĐ” ĐŸ жОĐČĐŸĐŒÂ», ĐČĐŸŃĐżĐŸĐŒĐžĐœĐ°ĐœĐžŃ ĐŸ ĐĐ°ĐșŃĐžĐŒĐžĐ»ĐžĐ°ĐœĐ” ĐĐŸĐ»ĐŸŃĐžĐœĐ”; ĐČ 1934 Đł. â «ĐĐ»Đ”ĐœĐœŃĐč ĐŽŃŃ Â» ĐČ ĐżĐ°ĐŒŃŃŃ ĐŸĐ± ĐĐœĐŽŃДД ĐĐ”Đ»ĐŸĐŒ; ĐČ 1936 Đł. â «ĐДзЎДŃĐœĐžĐč ĐČĐ”ŃДѻ ĐŸ ĐĐžŃ Đ°ĐžĐ»Đ” ĐŃĐ·ĐŒĐžĐœĐ”; ĐČ 1937 Đł. â «ĐĐŸĐč ĐŃŃĐșĐžĐœÂ», ĐżĐŸŃĐČŃŃĐ”ĐœĐœĐŸĐ” ĐлДĐșŃĐ°ĐœĐŽŃŃ ĐĄĐ”ŃгДДĐČĐžŃŃ ĐŃŃĐșĐžĐœŃ. ĐŃĐŸĐ¶ĐžĐČ 1930-Đ” ĐłĐŸĐŽŃ ĐČ Đ±Đ”ĐŽĐœĐŸŃŃĐž, ĐČ 1939 ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° ĐČĐŸĐ·ĐČŃĐ°ŃĐ°Đ”ŃŃŃ ĐČ ĐĄĐĄĐĄĐ . ĐŃ ĐŽĐŸŃŃ Đž ĐŒŃжа Đ°ŃĐ”ŃŃĐŸĐČŃĐČĐ°ŃŃ. ĐĄĐ”ŃĐłĐ”Ń ŃĐ°ŃŃŃŃДлŃŃŃ ĐČ 1941 ĐłĐŸĐŽŃ, Đ° ĐŽĐŸŃŃ ŃĐ”ŃДз 15 Đ»Đ”Ń ŃДабОлОŃĐžŃŃŃŃ. ĐŠĐČĐ”ŃĐ°Đ”ĐČŃ ĐČĐŒĐ”ŃŃĐ” Ń ŃŃĐœĐŸĐŒ ŃĐČĐ°ĐșŃĐžŃŃŃŃ ĐČ ĐлабŃĐłŃ (йаŃĐ°ŃŃŃĐ°Đœ). Đ ŃŃĐŸŃ ĐżĐ”ŃĐžĐŸĐŽ ŃĐČĐŸĐ”Đč Đ¶ĐžĐ·ĐœĐž ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° ĐżĐŸŃŃĐž ĐœĐ” пОŃĐ”Ń ŃŃĐžŃ ĐŸĐČ, Đ° лОŃŃ Đ·Đ°ĐœĐžĐŒĐ°Đ”ŃŃŃ ĐżĐ”ŃĐ”ĐČĐŸĐŽĐ°ĐŒĐž. 31 Đ°ĐČĐłŃŃŃĐ° 1941 ĐłĐŸĐŽĐ° ĐŠĐČĐ”ŃĐ°Đ”ĐČĐ° ĐżĐŸĐșĐŸĐœŃОла Ń ŃĐŸĐ±ĐŸĐč. ĐĐŸŃ ĐŸŃĐŸĐœĐ”ĐœĐ° ĐČДлОĐșĐ°Ń ĐżĐŸŃŃĐ”ŃŃĐ° ĐČ ĐłĐŸŃĐŸĐŽĐ” ĐлабŃга ĐœĐ° ĐĐ”ŃŃĐŸĐżĐ°ĐČĐ»ĐŸĐČŃĐșĐŸĐŒ ĐșлаЎбОŃĐ”. ĐŃ ŃŃĐœ ĐĐ”ĐŸŃгОĐč ŃŃДл ĐŽĐŸĐ±ŃĐŸĐČĐŸĐ»ŃŃĐ”ĐŒ ĐœĐ° ŃŃĐŸĐœŃ. ĐĐœ ĐżĐŸĐłĐžĐ± лДŃĐŸĐŒ 44-ĐłĐŸ Đž ĐżĐŸŃ ĐŸŃĐŸĐœĐ”Đœ ĐżĐŸĐŽ ĐĐžŃДбŃĐșĐŸĐŒ, ĐČ Đ±ŃĐ°ŃŃĐșĐŸĐč ĐŒĐŸĐłĐžĐ»Đ”. ĐĐ°ĐŒŃŃŃ ĐŸ ĐČДлОĐșĐŸĐč ĐżĐŸŃŃĐ”ŃŃĐ” жОĐČĐ”Ń ĐČ ĐŒĐœĐŸĐłĐŸŃĐžŃĐ»Đ”ĐœĐœŃŃ ĐŒŃĐ·Đ”ŃŃ Đž ĐżĐ°ĐŒŃŃĐœĐžĐșĐ°Ń , ĐŸŃĐșŃŃŃŃŃ ĐČ ŃĐ°Đ·ĐœŃŃ ĐłĐŸŃĐŸĐŽĐ°Ń Đ ĐŸŃŃОО, ĐČ ĐżĐŸŃŃŃĐŸĐČĐ”ŃŃĐșĐžŃ ŃŃŃĐ°ĐœĐ°Ń Đž Đ·Đ° ĐłŃĐ°ĐœĐžŃĐ”Đč. ĐŃĐ·Đ”Đč ĐŠĐČĐ”ŃĐ°Đ”ĐČĐŸĐč ĐœĐ°Ń ĐŸĐŽĐžŃŃŃ ĐœĐ° ŃлОŃĐ” ĐĄŃĐ”ŃĐ”ĐœĐșĐ° ĐČ ĐĐŸŃĐșĐČĐ”, ŃĐ°ĐșжД ĐČ ĐĐŸĐ»ŃĐ”ĐČĐ”, ĐлДĐșŃĐ°ĐœĐŽŃĐŸĐČĐ” ĐĐ»Đ°ĐŽĐžĐŒĐžŃŃĐșĐŸĐč ĐŸĐ±Đ»Đ°ŃŃĐž, Đ€Đ”ĐŸĐŽĐŸŃОО, ĐĐ°ŃĐșĐŸŃŃĐŸŃŃĐ°ĐœĐ”. ĐĐ°ĐŒŃŃĐœĐžĐș ĐżĐŸŃŃĐ”ŃŃĐ” ŃŃŃĐ°ĐœĐŸĐČĐ»Đ”Đœ ĐœĐ° бДŃĐ”ĐłŃ ŃĐ”ĐșĐž ĐĐșĐ° ĐČ ĐłĐŸŃĐŸĐŽĐ” йаŃŃŃĐ°, Đ° ŃĐ°ĐșжД ĐČ ĐĐŽĐ”ŃŃĐ”.
KnjaĆŸevac Narodna knjiga, 1985. Dizajn Bole MiloradoviÄ Prelepo izdanje jednog od najveÄih romana svetske knjiĆŸevnosti. âGospoÄa Bovariâ, roman Gistava Flobera, francuskog romanopisca, objavljen 1857. godine. Po objavljivanju roman je izazvao skandal. Knjiga je doĆŸivela buran uspeh, ali je pisac bio optuĆŸen za povredu javnog morala od strane pariskog suda za prestupe. OsloboÄena je zahvaljujuÄi odliÄnom advokatu Senardu. GospoÄa Bovari je remek-delo realizma po realistiÄnoj knjiĆŸevnoj doktrini (studija karaktera, analiza oseÄanja, izbor pojedinosti), po savrĆĄenom stilu, te po moralnoj pouci (Ema Bovari prikazuje duh cele jedne epohe, a ne samo romantiÄnim sanjarenjima uniĆĄtenu ĆŸenu). Tema dela je ispraznost braka i malograÄanske sredine. IsprepliÄu se motivi ljudske ograniÄenosti i osrednjosti. Izvor i graÄu za ovo delo Flober je pronaĆĄao u nekom novinskom izveĆĄtaju koji mu je posluĆŸio kao inspiracija (nije redak sluÄaj da knjiĆŸevnici poseĆŸu za takvim oblikom inspiracije, npr. Dostojevski se sluĆŸio sudskom hronikom). Vreme i prostor obuhvata hronotop provincijskog gradiÄa s gustim lepljivim vremenom koje puzi unutar prostora. Likovi su socijalno motivisani, socijalno reprezentativni. PripovedaÄ je nepristrastan, njegova se osobnost ne zapaĆŸa, pisac se poistovjeÄuje s unutarnjim svetom likova, sluĆŸi se jezikom koji reprodukuje reÄi ili svest odreÄenog lika, ali to ne naglaĆĄava posebno veÄ pripoveda u 3. licu. Ovaj roman kritika Äesto ocenjuje kao ĆŸivotopis malograÄanske preljubnice, epopeju provincijske bede, a stilski kao antiromantiÄarski romantizam. U razotkrivanju iluzija Flober zapravo razotkriva sebe i svoju intimu, ĆĄto je najbolje izrekao reÄenicom: `GospoÄa Bovari, to sam ja!` Fabula romana Ć arl Bovari, seoski lekar i udovac, ĆŸeni se ljupkom devojkom Emom Ruo. Ema je kÄi imuÄnog seoskog gospodina. Ranu mladost i ĆĄkolovanje provela je u manastiru urĆĄulinki gde Äesto kradom Äita zabranjene romantiÄne ljubavne romane u koje uranja svom silinom svoje maĆĄte. Od braka je oÄekivala ostvarenje svojih romantiÄnih snova, sreÄu i mir, no ubrzo se pita: BoĆŸe, zaĆĄto sam se udala? DobroÄudni Ć arl svim svojim jednostavnim srcem ljubi Emu i misli da mu je ljubav uzvraÄena. MeÄutim, mlada ĆŸena vrlo brzo shvata raskorak izmeÄu svojih snova i monotone jednoliÄnosti svakodnevnog malograÄanskog ĆŸivota. Njen duh vapi za pustolovinama. Nakon selidbe u Jonvil Ema upoznaje pristalog advokatskog pripravnika Leona s kojim se poÄinje tajno sastajati. Leon odlazi u Pariz, a Ema, ĆŸeljna ljubavnih pustolovina, predaje se ljubavnoj vezi sa elegantnim baronom Rodolfom. Sledi ljubavna romansa uz vatru kamina, izlete u prirodu... Potpuno zapuĆĄta Ć arla, kuÄu, dete. Opsednuta je ljubavnikom, lepim haljinama i svojim sada uzbudljivim ĆŸivotom. Nagovara Rodolfa da je otme i da pobegnu. U poÄetku Rodolf pristaje, ali joj kasnije ĆĄalje pismo u kojem objaĆĄnjava da je odustao od bega. Ema je potpuno skrhana, doĆŸivljava slom nerava. Ć arl je pokuĆĄava uteĆĄiti, pokazuje potpuno razumevanje, brine se za dete, vraÄa sve dugove i ne pitajuÄi kako su nastali. Ona ponovo ĆŸivi teĆĄko podnoseÄi dosadu svakodnevnog ĆŸivota. Ć arl je ĆŸeli razvedriti i zabaviti te je odvede u pozoriĆĄte u Ruan. Tamo susretne Leona i obnovi s njim stari flert, ali kod Leona sve viĆĄe raste zasiÄenost Emom. Ema je upadala u sve veÄe dugove u teĆŸnji da ostvari svoje ĆŸelje za raskoĆĄi i sjajem. Sav ostali svet bio je za nju izgubljen, bez odreÄena mesta i kao da nije ni postojao. Ć to su joj, uostalom, stvari bile bliĆŸe, to viĆĄe su se od njih odvraÄale njene misli. Sve ĆĄto ju je neposredno okruĆŸivalo, dosadno selo, glupi malograÄani, osrednji ĆŸivot, Äinilo joj se izuzetkom u svetu, pukim sluÄajem, koji ju je drĆŸao u svojim okovima, dok se izvan toga kruga protezala unedogled neizmerna zemlja blaĆŸenstva i strasti. OÄajna zbog pretnje prisilne naplate dugova odlazi Rodolfu. Moli ga da je spasi od dugova, ali on je odbija. Ema je poraĆŸena i poniĆŸena. Dok sudski izvrĆĄitelj popisuje stvari u porodiÄnoj kuÄi: Bila je tako tuĆŸna i tako mirna, u isti mah tako mila i tako povuÄena, da si u njenoj blizini oseÄao kako te obuzima neki ledeni Äar, kao ĆĄto te u crkvama hvata zima od hladnoÄe mramora, koja se meĆĄa s mirisom cveÄa. Ne moĆŸe prihvatiti poraz i ponovni povratak u dosadu svakodnevnog ĆŸivota te radije bira beg u smrt. Ispija otrov i umire. Ć arl, jecajuÄi, sav kao lud, u oÄaju govori svojoj umiruÄoj ĆŸeni: Zar nisi bila sreÄna? Jesam li ja moĆŸda kriv? Äinio sam ipak sve ĆĄto sam mogao! Uskoro i on umire ostavljajuÄi iza sebe nezbrinuto dete. Gistav Flober (franc. Gustave Flaubert; Ruan, 12. decembar 1821 â Ruan, 8. maj 1880) bio je francuski knjiĆŸevnik koji je stvarao u doba realizma.[1] Poznat je po svom romanu âGospoÄa Bovariâ i privrĆŸenosti stilu koji se najbolje ogleda u potrazi za âle mot justeâ (prava reÄ).[2] Biografija Gistav Flober RoÄen je 12. decembra 1821. u Ruanu u Francuskoj. Otac mu je bio hirurg a majka potomak jedne od najstarijih i najuglednijih normanskih familija. Obrazovanje je stekao u rodnom gradu koji je napustio tek 1840. kada je otiĆĄao u Pariz na studije prava. VeÄ od jedanaeste godine pokazivao je interesovanje za knjiĆŸevnost. Flober je u mladosti bio energiÄan, ali stidljiv, individualist i, navodno, bez ambicija. Voleo je selo, a Pariz smatrao izuzetno neugodnim mestom za ĆŸivot. Stekao je poznanstvo sa Viktorom Igoom i 1840. putovao na Pirineje i Korziku. Godine 1846. Flober je napustio Pariz i studije prava, posle jednog epileptiÄnog napada[3] (od detinjstva je patio od epilepsije) i vratio se u Kruaset, blizu rodnog Ruena, gde je ĆŸiveo sa svojom majkom. Imanje, kuÄa na prijatnom mestu uz Senu ostao je Floberov dom do kraja ĆŸivota. Od 1846. do 1854. bio je u vezi s pesnikinjom Luiz Kole. Za Flobera, koji se nije ĆŸenio, ova veza bila je jedina znaÄajna sentimentalna epizoda u ĆŸivotu.[4] Njegov najprisniji prijatelj u to vreme bio je Maksim di Kamp s kojim je putovao u Englesku, GrÄku i Egipat. Ova putovanja ostavila su snaĆŸan utisak na Floberovu maĆĄtu.[5] KnjiĆŸevni opus Floberovo delo je, moĆŸe se reÄi bez ikakve ograde, srediĆĄnji narativni opus 19. veka. Iako su veliki ruski romanopisci poput Tolstoja i Dostojevskog popularniji i uticajniji kod ĆĄireg Äitateljstva, iako je njihov zahvat u stvarnosti uzbudljiviji i ostavlja veÄi utisak - Gistav Flober ostaje nenadmaĆĄiv, uzoran majstor. Kao ĆĄto je za Velaskeza reÄeno da je bio slikar za slikare, tako se za Flobera moĆŸe reÄi da je pisac za pisce, veliki uÄitelj i merilo majstorstva. Raznovrsnost piĆĄÄevog dela zapanjuju: na njega se pozivaju kako naturalistiÄka i realistiÄka ĆĄkola, od Mopasana, Zole, Sinklera, do nebrojenih ameriÄkih i evropskih naturalista, tako i simbolistiÄka struja radikalnog esteticizma koja insistira na formalnom savrĆĄenstvu narativne umetnine, utelovljena u Prustu i DĆŸojsu. Ako se tome doda da su opusi Konrada, Kamija, Kafke i Sartra nezamislivi bez Flobera - dobija se utisak o dubini i dosegu uticaja majstora iz Kruaseta. U momentima inspiracije napuĆĄtao je sve obaveze i prepuĆĄtao se pisanju, a Äesto bi proveo celi dan u pisanju, i na kraju napisao svega par reÄenica. Ovo objaĆĄnjava zaĆĄto su njegova dela malobrojna, ali izuzetno kvalitetna. Dela Gistava Flobera se naroÄito istiÄu lepotom stila i veĆĄtinom opaĆŸanja. Mnogi istraĆŸivaÄi u Floberovom delu nalaze odjeke romantizma. NaÄin na koji je portretisao svoje likove je bio inspirativan za mnoge potonje pisce, od Emila Zole do Marija Vargasa Ljose. Gistav Flober ostaje najuticajniji pisac 19. veka; ako se za Gogoljev âĆ injelâ kaĆŸe da je sva kasnija ruska knjiĆŸevnost izaĆĄla iz njega, bez preterivanja se moĆŸe konstatovati da je veliki deo svetske narativne proze druge polovine 19. i Äitavog 20. veka potekao iz Floberovog opusa. Jedna od mnogobrojnih odlika Floberovog dobrog stila pisanja jeste u tome ĆĄto mu je poĆĄlo za rukom da u tekstu od dve hiljade reÄi nijednom ne ponovi istu reÄ. GospoÄa Bovari Deo rukopisa iz GospoÄe Bovari Prvo Floberovo remek delo je ujedno i najkontroverznije: âGospoÄa Bovariâ, iz 1857, plod ĆĄestogodiĆĄnjeg rada, turobna pripovest o egzistencijalnoj dosadi, preljubama i samoubistvu ĆŸene provincijskog normandijskog lekara, Eme Bovari, savrĆĄeno komponovana kao jedan od egzemplarnih psiholoĆĄkih romana, izazvala je skandal zbog svoje otvorenosti, a onda i sudski proces zbog navodno nemoralnih delova teksta. Ova godina bila je, uslovno reÄeno, godina skandala u knjiĆŸevnosti - za Flobera i Bodlera, koji je te iste godine objavio svoju zbirku âCveÄe zlaâ. Flober je u ovom romanu kritikovao âtrivijalnuâ knjiĆŸevnost, koju je Äitala njegova junakinja i koja joj je, zauvek i nepovratno, oduzela realan pogled na ĆŸivot. Misli svoje junakinje predoÄavao je metodom doĆŸivljenog govora (koji mu je i posluĆŸio da se odbrani na sudu). Naime, taj govor iskazan je u treÄem licu, ali bez najave da je uveden govor junaka. To je svojevrsna kombinacija junakovog i autorovog glasa. Zbog Eminog nesklada da prihvati svet u kome ĆŸivi onakvim kakav on jeste, zbog njene stalne potrebe da ĆŸivi u svetu nadanja i maĆĄtanja, u knjiĆŸevnosti termin âbovarizamâ oznaÄava osobu koja ĆŸivi na granici izmeÄu svojih ideala i snova, taÄnije - na granici onoga ĆĄto ona jeste i onoga ĆĄto ona misli da je. ` Madam Bovari, to sam ja!`, Äuvena je Floberova reÄenica. Ovaj roman odlikuju karakteristike koje se sreÄu i u kasnijim Floberovim delima: verodostojnost u prikazu pojedinosti, impersonalni pristup u kojem se ne Äuje glas pisca niti se uopĆĄte zna za njegovo postojanje, te harmoniÄni i negovani stil koji je postao uzor francuske proze.[6][7] Salambo Salambo, Gaston Busjer (1907) U sledeÄem romanu âSalamboâ (1862), autor je dao maha svom potiskivanom temperamentu, no, ni tu nije izneverio arhivarski i trezveni pristup - u tom spoju nespojivih komponenti leĆŸi Äar prikazima stare Kartagine, kao i opisu razmaha bujnih strasti i atavizama koji su uzbuÄivali piĆĄÄevu maĆĄtu, najÄeĆĄÄe svesno ograniÄenu na prozaiÄnu malograÄansku svakodnevnicu.[7][8] Pre nego ĆĄto je zapoÄeo pisanje romana Salambo, godine 1858. putovao je u Kartaginu, kako bi prikupio materijal za pisanje ovog romana.[3] Sentimentalno vaspitanje Godine 1869. Flober je objavio svoj najveÄi roman âSentimentalno vaspitanjeâ (L`Education sentimentale). To poluautobiografsko delo u kojem je rekreirao svoju mladenaÄku oÄaranost Eliz Ć lezinger i studentske dane, autor je opisao kao âmoralnu povest ljudi moga naraĆĄtajaâ. ViĆĄe od toga, roman âSentimentalno vaspitanjeâ, koji prati razgorevanje i sagorevanje strasti i ambicija Frederika Moroa i kruga njegovih pariskih prijatelja - roman je o korozivnoj sili Vremena koja rastaÄe bilo kakav ĆŸivotni poriv. Delo zapravo nema zaplet i rasplet u konvencionalnom smislu reÄi: likovi se vrte u prostoru vlastitih projekcija i ĆŸelja, vreme prolazi i niĆĄta se bitno ne reĆĄava niti ostvaruje a konac romana je potresan u svojoj svesno naglaĆĄenoj banalnosti - patos neostvarenih ĆŸudnji i izjalovljenih ambicija, sublimiran u nezaboravnim scenama susreta ostarelih Frederika i njegove mladenaÄke ljubavi, kao i u konaÄnom dijalogu s âprijateljemâ o antiklimaktiÄnim âvrhuncimaâ njihovih sterilnih ĆŸivota, formira polaziĆĄte za velika ostvarenja Foknera i Prusta u 20. veku, hroniÄara receptivne preosetljive svesti paralizovane pred hipnotiÄkom moÄi interferentnog spoljaĆĄnjeg sveta.[9] Ostala dela Sasvim su drugaÄije fantastiÄne vizije âIskuĆĄenja Svetog Antonijaâ (1874), dramsko-romanesknog dela, tog âfrancuskog Faustaâ na kome je radio preko 25 godina. Poslednje, posthumno delo, âBuvar i PekiĆĄeâ (1881), groteskna je prethodnica antiromana smeĆĄtena oko bizarnih seoskih `poduhvata` dvojice penzionisanih Äinovnika, hibridna je studija okarakterisana i kao svojevrsna farsiÄna enciklopedija ljudske gluposti. Dela Glavni radovi RĂȘve d`enfer (1837) Memoirs of a Madman (1838) GospoÄa Bovari (Madame Bovary), (1857) Salambo (Salammbo) (1862) Sentimentalno vaspitanje (L`Education sentimentale), 1869. Le Candidat (1874) IskuĆĄenje Svetog Antonija (La Tentation de Saint Antoine), 1874. Tri priÄe (Trois contes), 1877. Le ChĂąteau des cĆurs (1880) Buvar i PekiĆĄe (Bouvard et PĂ©cuchet), posthumno 1881.[10] Dictionary of Received Ideas (1911) Souvenirs, notes et pensĂ©es intimes (1965) Adaptacije The opera HĂ©rodiade by Jules Massenet, based on Flaubert`s novella HĂ©rodias The opera Madame Bovary by Emmanuel Bondeville, based on Flaubert`s novel The unfinished opera Salammbo by Modest Mussorgsky, orchestrated by ZoltĂĄn PeskĂł, based on Flaubert`s novel. Eight films titled Madame Bovary. La lĂ©gende de Saint-Julien l`Hospitalier (1888), an opera by Camille Erlanger Korespondencija Selections: Selected Letters (ed. Francis Steegmuller, 1953, 2001) Selected Letters (ed. Geoffrey Wall, 1997) Flaubert in Egypt: A Sensibility on Tour (1972) Flaubert and Turgenev, a Friendship in Letters: The Complete Correspondence (ed. Barbara Beaumont, 1985) Correspondence with George Sand: The George SandâGustave Flaubert Letters, translated by AimĂ©e G. Leffingwell McKenzie (A. L. McKenzie), introduced by Stuart Sherman (1921), available at the Gutenberg website as E-text N° 5115 FlaubertâSand: The Correspondence (1993) Biografske i druge srodne publikacije Allen, James Sloan, Worldly Wisdom: Great Books and the Meanings of Life,. Frederic C. Beil. Allen, James Sloan (2008). Worldly Wisdom: Great Books and the Meanings of Life. Frederic C. Beil. ISBN 978-1-929490-35-6. Brown, Frederick, Flaubert: a Biography, Little, Brown. Brown, Frederick (2006). Flaubert: A Biography. Little, Brown. ISBN 978-0-316-11878-1. Hennequin, Ămile, Quelques Ă©crivains français Flaubert, Zola, Hugo, Goncourt, Huysmans, etc., available at the Gutenberg website as E-text N° 12289 Barnes, Julian (1984). Flaubert`s Parrot. London: J. Cape. ISBN 978-0-330-28976-4. Fleming, Bruce, Saving Madame Bovary: Being Happy With What We Have,. Frederic C. Beil. Fleming, Bruce Edward (2017). Saving Madame Bovary: Being Happy with What We Have. Frederic C. Beil. ISBN 978-1-929490-53-0. Steegmuller, Francis, Flaubert and Madame Bovary: a Double Portrait, New York: Viking Press; 1939. Tooke, Adrianne (2000). Flaubert and the Pictorial Arts: from image to text. Oxford University Press. ISBN 978-0-19-815918-6. Wall, Geoffrey (2001). Flaubert: a Life. Faber and Faber. ISBN 978-0-571-21239-2. Various authors, The Public vs. M. Gustave Flaubert, available at the Gutenberg website as E-text N° 10666. Sartre, Jean-Paul. The Family Idiot: Gustave Flaubert, 1821â1857, Volumes 1â5. . University of Chicago Press. 1987.. Patton, Susannah (2007). A Journey into Flaubert`s Normandy. Roaring Forties Press. ISBN 978-0-9766706-8-1.
Kao na slikama Prisutan miris starih knjiga Extra retko 1971 Katalin Ladik poÄela je svoju karijeru u Novom Sadu u periodu delovanja novosadske neoavangarde ranih sedamdesetih, da bi se devedesetih preselila u BudimpeĆĄtu. Raspon stvaralaĆĄtva Katalin Ladik kreÄe se od knjiĆŸevnosti preko glume do interpretacije eksperimentalnih zvuÄnih kompozicija i radio-igara, fonetiÄne i vizuelne poezije, hepeninga, performansa, akcije pa sve do mail arta. Objavila je 20 samostalnih zbirki poezije i jedan roman, od kojih su na srpski prevedeni Erogen zoon, Ikarova senka i Kavez od trave i roman Mogu li da ĆŸivim na tvom licu (SFO (Re)konekcija, 2021). Svoje izloĆŸbe, performanse, hepeninge, muziÄke performanse i koncerte realizovala je u okviru najznaÄajnijih institucija savremene kulture domaÄe i meÄunarodne scene, kao ĆĄto su: Akademie der Bildenden KĂŒnste Wien âAspekte â GegenwĂ€rtige Kunst aus Jugoslawienâ (Bosch+Bosch grupa), Van Gogh Museum Amsterdam âVizuele poĂ«zieâ, Muzej savremene umetnosti âVerbo-Voko-Vizuelnoâ, Galerija suvremene umjetnosti âNova umjetniÄka praksa 1966â1978â, Centre National Georges Pompidou âRencontres internationales de poesie sonoreâ, Kassel, Neue Galerie, DOCUMENTA, New York, Washingto, DubrovaÄke letnje igre, a trenutno se njen rad predsatavlja na svim znaÄajnim evropskim izloĆŸbama. Rad ove umetnice, prevashodno njena verbo-voko-vizuelna istraĆŸivanja (zvuÄni performansi, video i audio kasete i ploÄe), (tekstualni) performansi tela, baĆĄ kao i obiman i znaÄajan knjiĆŸevni kao i rad u oblasti alternativnog teatra, priznati su i prepoznati i u meÄunarodnim okvirima. Njenu umetniÄku liÄnost svrstavaju u red veÄ gotovo mitskih liÄnosti avangardi na Äitavom centralnoevropskom prostoru. Za svoj umetniÄki rad dobila je Nacionalno priznanje za vrhunski doprinos kulturi Republike Srbije 2009, kao i Nagradu za mir i umetniÄku hrabrost Lennon Ono Grant for Peace 2016. Svoje prve pesme objavila je u Äasopisu Simpozion na maÄarskom jeziku (1962) a njena prva zbirka Balada o srebrnom biciklu (Ballada az ezĂŒstbicikliröl) sa gramofonskim, zvuÄnim zapisima, objavljena je 1969. godine, potom Bludna metla, Erogena zona, Kavez od trave i Ikarova senka. U prevoÄenju na srpski joj je pomagala knjiĆŸevnica Judita Ć algo, takoÄe poznata po svojim performativnim izvoÄenjima poezije. âJudita Ć algo mi je pomogla u prevodu pesama, a Bogdanka PoznanoviÄ me potakla na video-dokumentaciju mog stvaralaĆĄtva. Ona je negde 1980-ih nabavila videorekorder za Akademiju umetnosti gde je bila profesorka na Odseku medija i potakla me da snimimo neki moj rad za video. Ja sam sabrala neke motive i elemente svojih performansa iz prethodnog desetljeÄa koji su mi se Äinili pogodnima za kameru i video, pa sam ih izvela na stepeniĆĄtu hodnika Akademije, a video nazvala Poemim. To je ostalo kao jedini dokument onog vremena.â Pored uticaja Bogdanke PoznanoviÄ, koja je tada osnovala na novosadskoj Akademiji umetnosti prvi studio za nove medije, knjigu Bore ÄosiÄa Mixed Media smatrala je jako vaĆŸnom za njen umetniÄki razvoj. Bila je Älanica grupa Bosch + Bosch od 1973. do 1976, u okviru koje je ipak imala svoju teritoriju zvuka i zvuÄnog performansa i izvodila vizualne i konceptualne radove. Novoosnovanom Novosadskom pozoriĆĄtu â ĂjvidĂ©ki SzĂnhĂĄz pridruĆŸila se 1974. i kao Älanica stalnog ansabla radila do 1992. igrajuÄi u predstavama najznaÄajnijih maÄarskih reditelja, kao ĆĄto je JanÄo MikloĆĄ i predstava Bajer aspirin â pesniÄka monodrama koju je za nju napisao Oto Tolnai. Tokom godina igrala je glavne i sporedne uloge u raznim TV filmovima i igranim filmovima (jedan od poznatijih je i film Lordana ZafranoviÄa Ujed anÄela). Bila je urednica pesniÄke rubrike knjiĆŸevnih Äasopisa Elet es Irodalom (1993â94) i Ciganifuro (1994â99). IzmeÄu 1993. i 1998. predavala je u muziÄkom i pozoriĆĄnom obrazovnom centru Hangar. Katalin najveÄi trag ostavlja u svojoj foniÄnoj i voko-vizelnoj poeziji, ali se najviĆĄe pamte njeni performansi i body art u kojima koristi svoje telo kao instrument, Äesto provocirajuÄi intervenciju publike ritualno igrajuÄi razliÄite ĆŸenske uloge. Performativno izvoÄenje njenih âĆ amanskih pesamaâ, dok je ogrnuta samo ĆŸivotinjskom koĆŸom uz svetlost sveÄe, bio je jedan od najradikalnijih ĆŸenskih umetniÄkih izraza avangardne scene na tadaĆĄnjem jugoslovenskom kulturnom prostoru. âU poÄetku sam na te radove gledala kao na poetske veÄeri â znaÄi, prikazivanje poezije poÄev od njenog Äitanja pa sve do govorenja u obliku foniÄne i gestualne poezije, ĆĄto je na neki naÄin bio uvod putem kojega sam ljudima dala kljuÄ ka otvorenoj, proĆĄirenoj poeziji. Videla sam da ljudi poeziju smatraju samo onom linearnom, koju eventualno recituje glumac ili sam autor, ali govorenje ili pevanje, a kamoli foniÄna poezija, tada nije postojala.â Performansi Ja sam javna ĆŸena, Blackshave, Rupa koja vriĆĄti, Poem, SpuĆĄtanje Novog Sada niz reku Dunav,Mandora, Tesla samo su neki od najvaĆŸnijih, a spacifiÄnost njenog rada vidi se i u tome ĆĄto je neke izvodila potpuno razliÄito u drugim kontekstima. Katalin Ladik, performans â Zagreb, 1970. Katalin Ladik, performans â Zagreb, 1970. Katalin Ladik, Sanja IvekoviÄ i Vlasta Delimar bile su prve konceptualne umetnice novih medija a njihove umetniÄke strategije uticale su na poetiku razliÄitih generacija umetnica, od Marine AbramoviÄ do nama danas savremene ĆŸenske scene. Ali, i one same joĆĄ aktivno uÄestviju u kreiranju iste i sve viĆĄe su prisutne na meÄunarodnoj sceni Sama Katalin je iznenaÄena koliko su mladi umetnici zainteresovani za njen rad: âUskoro idem u Ć vajcarsku gde Äu na MuziÄkoj akademiji u Baselu odrĆŸati radionicu na temu novih eksperimentalnih partitura i improvizacije s kompozitorima. I mene samu Äudi kako se mlaÄe generacije zanimaju za mene i moje stvaralaĆĄtvo.â Zanimljivo je pratiti njen odnos prema ĆŸenskoj i feministiÄkoj kulturi. Sama kaĆŸe da u poÄetku nije znala puno o feministiÄkim teorijama, a one koje su do nje dopirale nisu joj bile bliske. Ali svoju umetniÄku pobunu pokazuje kroz tipiÄno ĆŸenske motive iskazujuÄi ne samo odnos prema patrijarhalnim matricama nego i prema represivnom umetniÄkom kontekstu Äak i meÄu svojim istomiĆĄljenicima. InaÄe, konceptualne umetnice prve problematizuju poziciju autorke u umetniÄkom polju delovanja. âStoga sam izraĆŸavala svoj bunt kroz one sitne stvari koje radi svaka ĆŸena, s uverenjem da to takoÄer moĆŸe da bude predmet umetnosti ili naÄin umetniÄkog izraĆŸavanja. Kada sam poÄinjala, piĆĄuÄi na maÄarskom sredinom 1960-ih, nisam poznavala teoriju feminizma â ne znam ni da li je postojao neki pregled na srpskom. Teorija nije programatski postojala u mom radu, veÄ sam krenula od liÄnog iskustva i zapoÄela svojevrsno oslobaÄanje od porodice i radnog mesta kao neki vid protesta u 1970-ima.â Feministkinje su prepoznale njenu umetnost kao vaĆŸnu elaboraciju pobunjene ĆŸene tako da je bila i gost najveÄe feministiÄke meÄunarodne konferencije u jednoj komunistiÄkoj zemlji Drug-ca 1978. u Beogradu: âTo je bio moj prvi susret s njima i drugim aktivnim feministkinjama iz Zagreba, s kojima sam ostala u kontaktu. Drug-ca Ćœena me liÄno obogatila, i tada sam shvatila da feminizam nije ono ĆĄto sam smatrala ameriÄkim feminizmom usko usmerenim protiv muĆĄkaraca, veÄ da se radi o prostom zalaganju za prava ĆŸena.â Retrospektivna izloĆŸba njenih radova u Muzeju savremene umetnosti Vojvodine 2010. upravo je i nazvana MoÄ ĆŸene prema njenim dominantnim umetniÄkim postulatima. Na konferenciji K.A.T. âUmetnost u obrazovanju: interakcijeâ, u produkciji Saveza feministiÄkih organizacija (Re)konekcija u Novom Sadu (2017), mogli smo da vidimo njene trenutne umetniÄke preokupacije internet prostorom koje je nazvala âAlisa u zemlji kodovaâ. Katalin Ladik danas, Foto: Sanja AnÄelkoviÄ Fotografija Sanja AnÄelkoviÄ Katalin Ladik bavi se intrigantnim pitanjem, koje je osnovano na materijalu proĆĄirene poezije same umetnice. U unutraĆĄnjoj naraciji svake vizuelne poezije nalazi se promena. NeobiÄajna medijska tranzicija odnosi se na ove objekte (vizuelnu poeziju i konkretnu poeziju), zatim na ĆŸivo izvoÄenje i audio snimanje tih ĆŸivih nastupa. Veza izmeÄu vizuelnog i zvuÄnog je suĆĄtina odnosa izmeÄu poezije Katalin Ladik i njene proĆĄirene poezije, âotelovljenog perfomansaâ. âLepota se pojavljuje kao rezultat na povrĆĄini, na licu dela, ali radost stvaranja se deĆĄava na obrnutom, na naliÄju materijala. Energija koja se oslobaÄa ograniÄenja, raskalaĆĄno se pokazuje i prevladava. Ne poĆĄtuje pravila, pretvara se u radost i bol. To se ne moĆŸete videti s lepe, tj. prednje strane, samo sa âpogreĆĄneâ strane tj. naliÄja umetniÄkog delaâ â objaĆĄnjava autorka. [ĂjvidĂ©k]: [FĂłrum KönyvkiadĂł], [1971]. First edition. In publisherâs illustrated wrappers, designed by GĂĄbor IfjĂș. Printed on differently colored papers. 89, (7) p. Inscribed first edition of Katalin Ladikâs book of surreal poems. Katalin Ladik (b. 1942) is a Yugoslavian-born (today Serbia) Hungarian radical female performance artist, poet, and writer. Besides other prizes, in 2016 she was awarded by the LennonOno Grant for Peace together with Ai Weiwei, Anish Kapoor, and Olafur Eliasson. She was an exhibitor at âdocumenta 14â in 2017. Katalin Ladik (born Novi Sad, 25 October 1942) is a Hungarian poet, performance artist and actress. She was born in Novi Sad, Kingdom of Yugoslavia (Hungarian: ĂjvidĂ©k), and in the last 20 years she has lived and worked alternately in Novi Sad, Serbia, in Budapest, Hungary and on the island of Hvar, Croatia. Parallel to her written poems she also creates sound poems and visual poems, performance art, writes and performs experimental music and audio plays. She is also a performer and an experimental artist (happenings, mail art, experimental theatrical plays). She explores language through visual and vocal expressions, as well as movement and gestures. Her work includes collages, photography, records, performances and happenings in both urban and natural environments. Contents 1 Biography 2 Awards 3 Poetry 4 Prose 5 Publications 5.1 Volumes in original language 5.2 Translated volumes 5.3 E-books 5.4 Audiobooks 6 Discography 6.1 Sound poetry 6.2 Music (experimental music, jazz) 7 Poetry readings, sound poetry performances 7.1 Online Audio 7.2 Live performances 8 Performance art 8.1 A list of performances, happenings, actions 8.2 1960s-`70s 8.3 1980s-`90s 8.4 2000s 8.5 2010s 8.6 2020s 9 Workshops with performances (selection) 10 Concerts, musical performances (selection) 11 Speech-music performances 12 Theatre 12.1 As an actress 12.2 As a director 13 Films 13.1 Feature films 13.2 Short films 13.3 Recitatives 13.4 Television interviews 13.5 Documentary 13.6 Writerâs Credit 14 Radio plays 14.1 Writer and performer 14.2 Performer 15 Artworks in permanent public and private collections 16 Exhibitions 16.1 Solo exhibitions 16.2 Group exhibitions 17 See also 18 References 19 Sources 19.1 Resources 19.2 Literature 20 External links Biography[edit] Katalin Ladik studied at the Economic High School of Novi Sad between 1961 and 1963. She then joined the Dramski Studio (Drama Studio) acting school in Novi Sad, between 1964 and 1966. Between 1961 and 1963, she worked as a bank assistant. During this time, in 1962, she began to write poetry. From 1963 to 1977 she worked for Radio Novi Sad. She joined the newly established Novi Sad Theatre in 1974, becoming a member of its permanent ensemble in 1977 and working there until 1992.[1] She primarily acted in dramatic roles. Over the years, she also played major and minor roles in various TV-films and movies. She led the poetry sections of literary magazines Ălet Ă©s Irodalom (1993â94) and CigĂĄnyfĂșrĂł (1994â99). Between 1993 and 1998 she taught at HangĂĄr musical and theatrical education center. She is a member of the Hungarian Writers` Union, the Hungarian Belletrists Association, the Association of Hungarian Creative Artists and the Hungarian PEN Club. Awards[edit] Katalin Ladik has earned various awards, including the KassĂĄk Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International â Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the JĂłzsef Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). Katalin Ladik has earned various awards, including the KassĂĄk Lajos Award (1991), the award of Mikes Kelemen Kör (Mikes International â Association for Hungarian Art, Literature and Science in the Netherlands) (2000), the JĂłzsef Attila Prize (2001), the Mediawave Parallel Culture Award (2003), the National Award for Culture of the Republic of Serbia (2009), and the Laurel Wreath Award of Hungary (2012). In 2015, she received the KlĂĄra Herczeg Award in senior category from the Studio of Young Artistsâ Association (Hungary).[2] In 2016, she was awarded with the Lennon Ono Grant for Peace.[3] Her awards for acting include the Oktobarska nagrada grada Novog Sada (October Award of the City of Novi Sad), a collective award to the cast of Radio Novi Sad in 1967; first place at Smotra vojvoÄanskih profesionalnih pozoriĆĄta (Festival of Professional Theatres in Vojvodina) in 1978, for the role of Masha in Three Sisters, directed by György Harag, performed at the Novi Sad Theatre. The same role earned her the first place of UdruĆŸenje dramskih umetnika Srbije / Association of Dramatic Artists of Serbia, in 1979. Katalin Ladik also received the Magyar TelevĂziĂł Elnöki NĂvĂłdĂja / Award of the President of Hungarian Television for Acting Excellence for acting in AndrĂĄs Rajnaiâs TV film series, TelevĂziĂłs mesĂ©k felnĆtteknek (Television Tales for Adults) in 1980. In 1986, she was awarded first place at Smotra vojvoÄanskih profesionalnih pozoriĆĄta / Festival of Professional Theaters in Vojvodina for the role of Skinner in Howard Barkerâs The Castle, directed by David Gothard, performed at the National Theatre in Subotica. 2017 Artisjus Literary Award for her poetry volume âA vĂz emlĂ©kezeteâ (âThe Memory of Waterâ) 2017 Janus Pannonius Filius Ursae Award for her literary oeuvre for âbeing defiant, provocative, and confrontational towards the actual literary canonsâ 2019 FerencvĂĄros Pro Urbe Award [4] 2020 âMy Countryâ (âHazĂĄm dĂj) Award in recognition of her lifetime achievement [5] 2021 Medal of culture for lifetime achievement, ie. for overall creativity/work awarded by MiloĆĄ Crnjanski Centre 2021 Novi Sad` International Literary Award, which is awarded by the 16th International Novi Sad Literary Festival organized by the Society of Writers of Vojvodina 2022 Hungarian Order of Merit Officer`s Cross, one of the highest Orders in Hungary 2022 Prize in Fiction (Poetry) category of the Society of Hungarian Authors 2022 Alföld Literary Prize Poetry[edit] Katalin Ladik became known after 1962 through her surreal and erotic poems. In addition to a number of books in Hungarian, volumes of her poetry were published in Yugoslavia, France, Italy and the United States. Her poems also appeared in various magazines and anthologies worldwide, translated into Spanish, German, Polish, Bulgarian, Slovakian, Hindi, Chinese, Indonesian, Romanian, Macedonian, Rusyn and Slovenian. `She is able to embody the sense of poetry as action. I saw one of her readings in Bratislava at Ars Poetica Festival and she was the only poet able to electrize the audience without any translation. (...) She manages to pass linguistic barriers but, again, any translation of her poetry is at least difficult to be made (or should I say âperformed`). Her activity covers a wide area that includes performance and sound poetry, with a force that captures any kind of audience no matter how illiterate in contemporary poetry they can be.` Poetry Depot Prose[edit] Her first novel, entitled Ălhetek az arcodon? (Can I Live on Your Face?) was published in 2007 by Nyitott KönyvmƱhely. It is considered to be an eminent work in Hungarian Avant-garde literature. It is partly autobiographical, partly self-reflecting. The novel alternates between reality and fiction, prose and poetry, sometimes switching to a prose poem style. Its main target audience is that part of the artistsâ community who are receptive to esoteric allusions. The book is about three women: the Editor, who lives in Budapest, the Artist, and the Glasswoman who lives in Novi Sad, all of whom bear the same name. The shared name determines their lives. Initially, they are unaware of one another, but throughout the book their lives get gradually intertwined. After they get to know one another, they begin to live each other`s life, which changes everything for them forever. One of the peculiarities about the book is the uniquely rich textual documentation (letters, newspaper articles, posters) and the large number of photos. Publications[edit] Volumes in original language[edit] Ballada az ezĂŒstbiciklirĆl (Ballad of Silver Bike) | poems | Hungarian | with gramophone recording | Forum, Novi Sad, 1969 Elindultak a kis piros bulldĂłzerek (The Small, Red Bulldosers Have Taken Off) | poems | Hungarian | Forum, Novi Sad, 1971 MesĂ©k a hĂ©tfejƱ varrĂłgĂ©prĆl (Stories of the Seven-Headed Sewing Machine) | poems | Hungarian | Forum, Novi Sad, 1978 Ikarosz a metrĂłn (Icarus on the Subway) | poems | Hungarian | Forum, Novi Sad, 1981 A parĂĄzna söprƱ â Bludna metla (The Promiscuous Broom) | poems | Hungarian-Serbian bilingual | Forum, Novi Sad, 1984 KiƱzetĂ©s (Exile) | poems | Hungarian | MagvetĆ, Budapest, 1988 JegyessĂ©g (Engagement) | poems | Hungarian | Fekete Sas - Orpheusz, Budapest, 1994 A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Fekete Sas, Budapest, 1998 FƱketrec (Grass-Cage) | poems | Hungarian | Orpheusz, Budapest, 2004 Ălhetek az arcodon? (Can I Live on Your Face?) | prose | Hungarian | Nyitott KönyvmƱhely, Budapest, 2007 BelsĆ vĂzözön (Deluge Inside) | poems | Hungarian | Parnasszus, Budapest, 2011 Ladik Katalin legszebb versei (The Most Beautiful Poems of Katalin Ladik) | poems | Hungarian | AB-ART, Bratislava, 2012 A vĂz emlĂ©kezete (The Memory of Water) | poems | Hungarian | Kalligram, Budapest, 2016 IdĆvitorla (Time Sailing), Selected Poems (1962-2022) | poems | Hungarian | Forum, Novi Sad, 2022 BĂ©ranya versek (Surrogacy Poems) | poems | Hungarian | Tipp-Cult Kft, Parnasszus Könyvek, P-Art, Budapest, 2022 Translated volumes[edit] Poesie Erotiche (Erotic Poems) | poems | Italian | selected and translated by: Giacomo Scotti | La Sfinge, Naples, 1983 Erogen Zoon | poems | Serbian | translated by: Katalin Ladik, Selimir RaduloviÄ, Judita Ć algo, Arpad Vicko | KnjiĆŸevna Zajednica Novog Sada, Novi Sad, 1987 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. BâRacz | New Native Press, Sylva, 1992 PoĂšmes (Poems) | poems | French | selected by: Tibor Papp | translated by: Katalin Kluge, Tibor Tardos | CiPM / Spectres Familiers, Marseille, 1999 Ikarova senka (Icarusâ Shadow) | poems | Serbian | translated by: Katalin Ladik, Selimir RaduloviÄ, Judita Ć algo, Arpad Vicko, Draginja Ramadanski | Orpheus, Novi Sad, 2004 Stories of the Seven-Headed Sewing Machine | poems | English | translated by: Emöke Z. BâRacz | Burning Bush Press, Asheville, 2005 Engagement | poems | English | translated by: Emöke Z. BâRacz | Burning Bush Press, Asheville, 2006 Kavez od trave (Grass-Cage) | poems | Croatian | translated by: Kristina Peternai | Matica hrvatska, Osijek, 2007 Poems | English | Cultural Centre of Vojvodina, `MiloĆĄ Crnjanski`, Novi Sad, 2022 Mogu li da ĆŸivim na tvom licu : romaneskna ĆŸivotna priÄa (Can I Live on Your Face: novelistic life story) | prose | Serbian |(Re) konekcija, Novi Sad, 2021 Raspjevane ĆŸeravice: izbrane pjesme 1962-1982 (Singing embers: selected poems 1962-1982) | poems| Croatian | DAF, Zagreb, 2022 E-books[edit] FƱketrec (Grass-Cage) | poems | Hungarian | Mikes International, The Hague, 2003 | downloadable, pdf format FƱketrec (Grass-Cage) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2003 | downloadable, multiple formats A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats KiƱzetĂ©s ~ JegyessĂ©g (Exile ~ Engagement) | poems | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, multiple formats A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format KiƱzetĂ©s ~ JegyessĂ©g (Exile ~ Engagement) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | poems | Hungarian | Mikes International, The Hague, 2004 | downloadable, pdf format Engagement | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Stories of the Seven-Headed Sewing Machine | poems | English | Firefly Inx, Asheville, 2012 | downloadable, pdf format[permanent dead link] Milyen ĂzƱ vagyok? (How Do I Taste?) | poems | Hungarian | A hĂłnap könyve, Szentendre, 2012 | buyable, pdf format Audiobooks[edit] 2020: Liquid mirror (FolyĂ©kony tĂŒkör) presented by Vera SĂpos 00:00:00 â FolyĂ©kony tĂŒkör 1; 00:55:47 â FolyĂ©kony tĂŒkör 2 Audiobooks by contemporary authors published online by DIA, the Digital Literature Academy of PIM [6] Discography[edit] Sound poetry[edit] Ballada az ezĂŒstbiciklirĆl (The Ballad of the Silver Bicycle) | SP | supplement for book with same title | Forum, Novi Sad, 1969 Phonopoetica | SP | Galerija Studentskog kulturnog centra, Belgrade, 1976 PoĂ©sie Sonore Internationale (International Sound Poetry) | audio cassette | anthology of sound poetry, Paris, 1979 La Nouvelle Revue dâArt Moderne, Special 2. (The Magazine of Modern Art) | audio cassette | Rencontres Internationales de PoĂ©sie Sonore (International Sound Poetry Festival), Paris, 1980 Adriano Spatola: Baobab Femme | audio cassette | anthology for sound poetry magazine, Publiart Bazar Reggio Emilia, 1982 Yugoslavian Sound Poetry | audio cassette | anthology of sound poetry, 1987 HangĂĄr / Hangar | audio cassette | anthology of sound poetry, Amsterdam â Budapest, 1987 Aki darazsakrĂłl ĂĄlmodik (Who is Dreaming About Wasps) | LP | recording of the radio play `Furcsa, aki darazsakrĂłl ĂĄlmodik` (Strange Is the One Who Is Dreaming About Wasps) | Radio Novi Sad, 1988 Spiritus Noister: Nemzeti zajzĂĄrvĂĄnyok / National Noise-Inclusions | audio cassette | Bahia Music, Budapest, 1996 VajdasĂĄgi Magyar Zenei EstĂ©k / Vojvodina Hungarian Music Evenings 1988 | CD | JMMT, Novi Sad, 1998 VĂzisĂĄmĂĄn / Water Shaman | CD | Budapest, 1999 Spiritus Noister â Kurt Schwitters: Ursonate | music CD | Hungaroton, Budapest, 2003 Vodeni anÄeo / Water Angel | music CD | Nova Misao, Novi Sad, 2011 Phonopoetics | Vinyl, LP | Alga Marghen (Milano), in co-production with acb Gallery (Budapest) Milano, 2019 [7] Water Angels | Vinyl, LP | Alga Marghen (Milano), in co-production with acb Gallery (Budapest) Milano,, 2021 [8] Music (experimental music, jazz)[edit] As vocalist, Katalin Ladik collaborated with prominent Croatian, Serbian and Hungarian composers, such as Dubravko Detoni, Branimir SakaÄ, and Milko Kelemen (1971â73, ensemble ACEZANTEZ); ErnĆ KirĂĄly (1963-2002); DuĆĄan RadiÄ (Oratorio Profano, 1979); Boris KovaÄ (1986-1990); DeĆŸe Molnar ( 1989â91); Zsolt SĆrĂ©s a.k.a. Ahad, and Zsolt KovĂĄcs (1996-, Spiritus Noister). ErnĆ KirĂĄly | LP | UdruĆŸenje Kompozitora Vojvodine, Novi Sad, 1978 Boris KovaÄ: Ritual Nova I | LP | Symposion Records, Overstrand, 1986 Boris KovaÄ: Ritual Nova II | CD | Recommended Records, London, 1989 ErnĆ KirĂĄly - Spectrum | CD | Autobus, Paris, 1999 DeĆŸe Molnar: Weird Garden | CD | vocals on Track 1 (Water Clock) | Studentski Kulturni Centar Novi Sad, 2010 I Belong to the Band Bakers Of The Lost Future | CD | vocals on Track 3 (Poets Of The Absurd On Chalk) | Inexhaustible Editions, Budapest, 2016 Poetry readings, sound poetry performances[edit] Online Audio[edit] FƱketrec (Grass-Cage) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2003 | downloadable, mp3 format A nĂ©gydimenziĂłs ablak (The Four-Dimensional Window) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format Ikarosz biciklijĂ©n (On Icarusâ Bicycle) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format KĂƱzetĂ©s - JegyessĂ©g (Exile - Engagement) | sound poetry | Hungarian | Magyar Elektronikus KönyvtĂĄr (MEK), 2004 | downloadable, mp3 format Live performances[edit] 2011 NĂ©gy fekete lĂł mögöttem repĂŒl (Four Black Horses Fly Behind Me); JĂ©gmadĂĄr (Icebird); excerpts from BelsĆ vĂzözön (The Deluge Inside) | poetry reading | Dzsudi Remake evening, Merlin Theatre, Budapest | Video on YouTube Performance art[edit] Most of Katalin Ladik`s performances balance on the borderline between performance art and theatre: the performance of sound poems is accompanied by theatrical body action and in many cases, the surrounding space is structured similarly to a traditional theatre. Those who examine her poetry often refer to her sound poetry performances. On the other hand, no detailed analyses have been produced about the dramaturgical characteristics of her performances, and the relations of sign systems between her poetry and performances. It is a well-reasoned choice, however, to locate her in the context of female performance artists, as Katalin Ladik uses her body and person as the medium of her art in her performances, which occupies a special position within the history of Western art. A list of performances, happenings, actions[edit] 1960s-`70s[edit] 1968 Budapest, Szentendre - Hungary | UFO | TamĂĄs SzentjĂłby, MiklĂłs ErdĂ©ly, Katalin Ladik | happening 1970 Belgrade - Serbia | PozoriĆĄte Atelje 212, Podrum teatar (Theatre Atelje 212, Theatre in the Basement) | performance Zagreb - Croatia | Ćœanr Festival eksperimentalnog filma (Genre Experimental Film Festival - GEFF) | performance Budapest - Hungary | JĂłzsef Attila MƱvelĆdĂ©si HĂĄz (Cultural Centre JĂłzsef Attila) | with JenĆ BalaskĂł | literary performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Temerin - Serbia | performance 1971 BaÄka Topola - Serbia | UFO Party | performance Samobor - Croatia | Samoborski FaĆĄnik (Carnival in Samobor) | Eros sa ovogu svijeta (Eros of This World) | UFO Party | performance Biograd - Croatia | UFO Party | performance Zagreb - Croatia | Studentski Centar (Student Centre) | performance Belgrade - Serbia | Dom Omladine (Youth Centre) | performance Zagreb - Croatia | Teatar Poezije Zagreb (Poetry Theatre Zagreb) | Äetvrta dimenzija kutije (Fourth Dimension of the Box) | performance 1972 Osijek - Croatia | Annale Komorne Opere i Baleta (Annual Festival of Chamber Opera and Ballet) Zagreb - Croatia | Teatar ITD (Theatre ITD)| performance Novi Sad - Serbia | Tribina Mladih (Youth Tribune) | performance Belgrade - Serbia | Studentski Kulturni Centar (Student Cultural Centre) | Festival Expanded Media | performance BalatonboglĂĄr - Hungary | KĂĄpolna GalĂ©ria (KĂĄpolna Gallery) | Group Bosch+Bosch | performance 1974 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media /performance/ 1975 Zagreb (Croatia), Student Centre Gallery / Galerija Studentskog Centra: `Eksperimenti u jugoslovenskoj umjetnosti` (Experiments of Yugoslav Art) (Group Bosch+Bosch) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Ljubavi, Singer` (Loves, Singer) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `Change Art` /action/ Novi Sad (Serbia): `SpuĆĄtanje Novog Sada niz reku Dunav` (Floating Novi Sad Downstream the Danube) /action/ 1976 Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar, Festival Expanded Media: `Change Art` /action/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti /performance/ 1977 Zrenjanin (Serbia), Cultural Centre / Kulturni Centar: `Poezija, foniÄna i vizuelna poezija Katalin Ladik` (Poetry, Phonic and Visual Poetry by Katalin Ladik) KrakĂłw (Poland): `Phonopoetica` /performance/ Zagreb (Croatia), Information Centre / Informativni Centar: `Phonopoetica` (with Vujica R. TuciÄ) /performance/ Amsterdam (Netherlands), Stedelijk Museum: `Tekst in Geluid` (Text in Sound) /performance/ Belgrade (Serbia), Student Cultural Centre / Studentski Kulturni Centar: `Phonopoetica` /performance/ 1978 Kranj (Slovenia), PreĆĄeren Theatre / PreĆĄernovo GledaliĆĄÄe /performance/ Sarajevo (Bosnia and Herzegovina), Youth Theatre / PozoriĆĄte Mladih, Festival Malih i Eksperimentalnih Scena (Festival of Small and Experimental Theatre): `Äetvrta dimenzija â krik` (Fourth Dimension â Scream) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina mladih: `PesniÄki maraton` (Poetry Marathon) /performance/ Novi Sad (Serbia), Sonja MarinkoviÄ Student Club / Studentski Klub âSonja MarinkoviÄâ: `Äudak je ko ÄekiÄe sanja` (Weird Is the One Who Dreams About Hammers) /performance/ WĂŒrzburg (Germany), Hand Press Gallery / Handpresse Galerie: `Randkunst-Kunstrand` /performance/ Novi Sad (Serbia), National Library / Narodna biblioteka: `Umetnost se ne ponavlja, ne ponavlja, ne ponavlja...` (Art Does Not Repeat Itself, Not Repeat Itself, Not Repeat Itself...) /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetniÄka praksa 1966-1978` (New Art Practice 1966-1978) /performance/ 1979 Subotica (Serbia), Youth Centre / Dom Omladine: `Az Ă©neklĆ varrĂłgĂ©p â The Singing Sewing Machine` (with Zsolt KirĂĄly) /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `The Screaming Hole â A sikoltozĂł lyuk` /performance/ Amsterdam (Netherlands): `One World Poetry` /performance/ Utrecht (Netherlands), Gallery âT Hoogt / âT Hoogt Galerie: `One World Poetry` /performance/ Novi Sad (Serbia), Youth Tribune / Tribina Mladih: `MesĂ©k a hĂ©tfejƱ varrĂłgĂ©prĆl` (Stories of the Seven-headed Sewing Machine) /performance/ 1980s-`90s[edit] 1980 Paris (France), Pompidou Centre / Centre Georges Pompidou: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ Le Havre (France), Cultural Centre of Le Havre / Maison de la Culture du Havre: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ Rennes (France), Cultural Centre of Rennes / Maison de la Culture de Rennes: `Rencontres Internationales de PoĂ©sie Sonore` (International Sound Poetry Festival) /performance/ New York City (USA), Washington Square Church, The New Wilderness Foundation: `International Sound Poetry Festival` /performance/ Baltimore (USA), School 33 Art Center, The Merzaum Collective`s Desire Productions Present: International Festival of Disappearing Art(s) /performance/ Gyula (Hungary), Castle Theatre / VĂĄrszĂnhĂĄz, Knightsâ Hall / Lovagterem: `Alice` /performance/ Belgrade (Serbia), Salon Museum of Contemporary Art / Salon Muzeja Savremene Umetnosti, Exhibition of Group Bosch+Bosch: `Orman koji ubrizgava (Injecting Closet)` /performance/ 1982 Budapest (Hungary), Cultural Centre JĂłkai, Studio âKâ/ StĂșdiĂł âKâ JĂłkai MƱvelĆdĂ©si Központ: `Ladik Katalin ĂșjvidĂ©ki költĆ Ă©s elĆadĂłmƱvĂ©sz szerzĆi estje` (An Evening with Novi Sad Poet and Performer, Katalin Ladik) /performance/ Novi Sad (Serbia), Cultural Centre PetĆfi SĂĄndor / PetĆfi SĂĄndor MƱvelĆdĂ©si HĂĄz: `Telepi estĂ©k â Ladik Katalin szerzĆi estje` (Evenings in Telep â with Poet Katalin Ladik) (with OttĂł Tolnai, Zsolt KirĂĄly) /performance/ Budapest (Hungary), Young Artistsâ Club / Fiatal MƱvĂ©szek Klubja: `Ladik Katalin szerzĆi estje` (An Evening with Katalin Ladik) (with MiklĂłs ErdĂ©ly, LĂĄszlĂł Beke and Zsolt KirĂĄly) /performance/ Budapest (Hungary), Cultural Centre JĂłkai, Studio âKâ / StĂșdiĂł âKâ JĂłkai MƱvelĆdĂ©si Központ: `Ladik Katalin szerzĆi Ă©s elĆadĂłi estje` (An Evening with Katalin Ladik) (with MiklĂłs ErdĂ©ly, LĂĄszlĂł Beke and Zsolt KirĂĄly) /performance/ Belgrade (Serbia), Museum of Contemporary Art / Muzej Savremene Umetnosti: `Verbo-Voko-Vizuelno` (`Phonopoetry` with Judita Ć algo) /performance/ Osijek (Croatia), Studentsâ Youth Centre / Studentski Centar Mladih, OsijeÄko ljeto (Summer in Osijek): `Äudak je ko ÄekiÄe sanja` (Weird Is the One Who Dreams About Hammers) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Ikar u metrouâ (Icarus on the Subway) (with Judita Ć algo, Selimir RaduloviÄ) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine, Beogradsko leto (Summer in Belgrade): `Ufo Party` /performance/ KanjiĆŸa (Serbia), Literary Camp / KnjiĆŸevna Kolonija: `Konkretna i vizuelna poezija` (Concrete and Visual Poetry) (with Vujica R. TuciÄ and Bob Cobbing) /performance/ Novi Sad (Serbia), Address: Istarski kej 37. sp. 8. st. Rade Ć eviÄ: `Sound Poetry Performance` (with Vujica R. TuciÄ and Bob Cobbing) /performance/ Novi Sad (Serbia), Youth Tribune Gallery / Tribina Mladih Galerija: `Phonopoemim` â Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Paris (France), UNESCO: `Guerre a la guerre` (War Against War) /performance/ Milan (Italy), UNESCO: `Guerra alla guerra` (War Against War) /performance/ Paris (France), UNESCO Pompidou Centre / Centre Georges Pompidou: `Polyphonix 5` /performance/ 1983 Vienna (Austria), Wiener Festwochen (Vienna Festival): `Mandora 1.` /performance/ Zagreb (Croatia), Gallery of Contemporary Art / Galerija Suvremene Umjetnosti: `Nova umjetnost u Srbiji 1970-1980` (New Art of Serbia 1970-1980) Belgrade (Serbia), Youth Centre / Dom Omladine: `Oluja-po motivima Ć ekspira` (Tempest â Based on Shakespeare) â Exhibition Launch for Slavica Grkavac: tapiserije `Jokastin kompleks` (`Jocasta Complex` Tapestry) /performance/ Belgrade (Serbia), Youth Centre / Dom Omladine: `Magic Bread` (with Paul Pignon) 1984 Glasgow (UK), Third Eye Centre, Poetsound 1984: `Mandora 1.` /performance/ Milan (Italy), (Cultural Association of) Cooperativa Intrapresa: `Milanopoesia` /performance/ Szeged (Hungary), JĂłzsef Attila University (Today: University of Szeged) / JĂłzsef Attila TudomĂĄnyegyetem: `Mandora 1.` /performance/ Cogolin (France), Rencontres Internationales de PoĂ©sie Contemporaine (International Festival of Contemporary Poetry): `Mandora 1.` /performance/ Belgrade (Serbia), Cultural Centre / Kulturni Centar: `Mandora 1.` /performance/ 1985 Belgrade (Serbia), Magaza Theatre / PozoriĆĄte Magaza: `Mandora 2.` /performance/ Budapest (Hungary), Cultural Cente of LĂĄgymĂĄnyos / LĂĄgymĂĄnyosi MƱvelĆdĂ©si Otthon: `Mandora 2.` /performance/ Budapest (Hungary), Metropolitan Cultural Centre / FĆvĂĄrosi MƱvelĆdĂ©si HĂĄz: `Alice` /performance/ Zemun (Serbia), Festival Monodrame i Pantomime (Festival of Monodrama and Pantomimes): `Mandora` /performance/ Novi Sad (Serbia), âSonja MarinkoviÄâCultural Centre / Kulturni Centar âSonja MarinkoviÄâ, Youth Tribune / Tribina Mladih: `Mandora` /performance/ Stari BeÄej (Serbia) /performance/ 1988 Szeged (Hungary), JATE Club: `Polyphonix` /performance/ PĂ©cs (Hungary): `Alice` /performance/ Budapest (Hungary), VigadĂł Chamber Hall / VigadĂł Kamaraterem, HangĂĄr Est (âWall of Soundâ Evening): `Alice` /performance/ 1989 Spoleto (Italy): `O Fortuna` /performance/ NovĂ© ZĂĄmky (Slovakia): `O Fortuna` /performance/ Novi Sad (Serbia): `O Fortuna` /performance/ 1990 Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina: `Otkrovenje` (Revelation) (with ZoltĂĄn Pletl) /performance/ VĂĄc (Hungary), Greek Chapel / Görög Templom, Ex-panziĂł 2. Festival: `Angyal/Angel` /performance/ Novi Sad (Serbia): `Seraphine Tanz` /performance/ 1993 Szentendre (Hungary), DalmĂĄt Cellar / DalmĂĄt pince, UHF KisĂșjrevue /performance/ Szeged (Hungary), JATE Club: `Alice` /performance/ VĂĄc (Hungary), Greek Chapel / Görög Templom, ExpanziĂł 5. Festival /performance/ 1994 Szeged (Hungary): `Performancia` with LukĂĄcs Bitskey /performance/ ZebegĂ©ny (Hungary): `A helyettesĂtĆ asszony (The Substitute)` /performance/ PĂ©cs (Hungary): `A nĂ©gydimenziĂłs ablak (The Four-dimensional Window)` with TamĂĄs Szalay /performance/ 1995 Marseille (France), International Poetry Centre / Centre International de PoĂšsie: `KassĂĄk` /performance/ 1996 Marseille (France), Meyer Gallery / Galerie Meyer: `Lâ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ Ajaccio â Corsica (France): `Lâ agneau de Dieu et le double` (The Lamb of God and Its Double) /performance/ 2000s[edit] 2002 Novi Sad (Serbia), Cultural Centre of Novi Sad / Kulturni Centar Novog Sada, INFANT (International Festival of Alternative and New Theatre): `FƱketrec / Grass-cage` 2003 Novi Sad (Serbia), Chamber Theatre of Music / Kamerno PozoriĆĄte Muzike, INTERZONE Festival: `Tesla â Project` /performance/ 2004 Monza (Italy) /performance/ Salerno (Italy) /performance/ Novi Sad (Serbia), Chamber Theatre of Music / Kamerno PozoriĆĄte Muzike, INTERZONE Festival: `Tesla â Project` Budapest (Hungary), A38 Ship / A38 hajĂł: `LomtalanĂtĂĄs` (Cleaning the House) /performance/ Budapest (Hungary), Ludwig Museum â Museum of Contemporary Art / Ludwig MĂșzeum â KortĂĄrs MƱvĂ©szeti MĂșzeum: `Torony-LomtalanĂtĂĄs` (Cleaning the Tower-House) /performance/ 2005 TerĂ©ny (Hungary), ExpanziĂł Festival: `Angel` /performance/ 2006 Budapest (Hungary), Serbian Theatre in Hungary / MagyarorszĂĄgi Szerb SzĂnhĂĄz / Srpsko PozoriĆĄte u MaÄarskoj: `Tesla`, /audio-visual oratorio/ Otterlo (Netherlands), Kröller-MĂŒller Museum: `Change Art` /action/ Amsterdam (Netherlands): `Tesla` /performance/ Novi Sad (Serbia), Sport and Activity Centre of Vojvodina / SPENS Sportski i Poslovni Centar Vojvodina, Inventors Association of Vojvodina, TeslaFest: `Tesla` /performance/ 2007 NovĂ© ZĂĄmky (Slovakia), Art Gallery / GalĂ©ria Umenia: `Gyakorlatok ĂŒres hĂșrokon â KassĂĄk-kĂłd` (Exercises on Empty Strings - KassĂĄk Code) /performance/ Budapest (Hungary), Erlin Club Gallery / Erlin Klub GalĂ©ria: `FƱketrec` (Grass-cage) /performance/ Budapest (Hungary), Mu Theatre / Mu SzĂnhĂĄz: `Az EszmĂ©let szövedĂ©ke` (The Weave of Consciousness) (with PĂ©ter Bajka, Bern Atom Santi, Eszter Bereczky, ZsĂłfia Varga) /performance/ VerĆce (Hungary), EkszpanziĂł XX Festival: `Tesla, Audio-visual Oratorio` /performance/ Szigliget (Hungary), Artist House of the Hungarian Public Foundation for Creative Art / Magyar AlkotĂłmƱvĂ©szeti KözalapĂtvĂĄny AlkotĂłhĂĄza, JĂłzsef Attila Kör 18. irodalmi tĂĄbora (18th Literary Camp of the JĂłzsef Attila Circle): `Az EszmĂ©let szövedĂ©ke` (The Weave of Consciousness) (with PĂ©ter Bajka, Bern Atom Santi, Eszter Bereczky, ZsĂłfia Varga) /performance/ 2008 Budapest (Hungary), PetĆfi Literary Museum / PetĆfi Irodalmi MĂșzeum, A SzĂ©pĂrĂłk TĂĄrsasĂĄga V. Ćszi irodalmi fesztivĂĄlja â NĆk a fĂ©rfi birodalomban (5th Autumn Literary Festival of the Hungarian Belletrist Association â Women in a Men`s World): `Diptichon` (with Endre SzkĂĄrosi), performance Belgrade (Serbia), ARTGET Gallery â Cultural Centre Belgrade / Galerija ARTGET â Kulturni Centar Beograda (World Poetry Day): `Tesla â Homo Galacticus` /performance/ Szigliget (Hungary), JĂłzsef Attila Kör 20. irodalmi tĂĄbora (20th Literary Camp of the JĂłzsef Attila Circle): `Trip-ti-chon` (with Veronika CzapĂĄry), performance Budapest (Hungary), Irodalmi Centrifuga (Literary Centrifuge): `Trip-ti-chon` (with Veronika CzapĂĄry), performance Bratislava (Slovakia), Ars Poetica MedzinĂĄrodny Festival PoĂ©zie /The 6th Ars Poetica International Poetry Festival /sound poetry performance[9] 2009 VisegrĂĄd (Hungary), The Roof Terrace of King Matthias Museum / A MĂĄtyĂĄs KirĂĄly MĂșzeum tetĆterasza, EkszpanziĂł XXI Festival: âKerub` (Cherub) /performance/ 2010s[edit] 2010 Budapest (Hungary), Gallery A22 / A22 GalĂ©ria, Tibor Papp`s Exhibition Opening: `ĂraköltemĂ©ny` (Poem-Clock) /performance/ Subotica (Serbia), KosztolĂĄnyi DezsĆ Theatre / KosztolĂĄnyi DezsĆ SzĂnhĂĄz: `Tesla â Homo Galacticus` /performance/ Budapest (Hungary), MillenĂĄris Theatre / MillenĂĄris TeĂĄtrum, Book Festival: `SzabadkĆmƱves szex` (Freemason Sex) (with drMĂĄriĂĄs) /performance/ Ć taglinec (Croatia), `Voda` â `Water` MeÄunarodni Susret Umjetnika (International Art Festival): `Veliko spremanje` (Spring Cleaning) /performance/ Eger (Hungary), Small Synagogue Gallery of Contemporary Art / Kis ZsinagĂłga KortĂĄrs GalĂ©ria, artAlom Ă©lĆmƱvĂ©szeti fesztivĂĄl (artAlom Performing Arts Festival): `Bukott angyalok` (Fallen Angels) /performance/ Szeged (Hungary) â Subotica (Serbia), Railway line, KultĂșrcsempĂ©sz SĂnbusz FesztivĂĄl (Culture-smuggler Railbus Festival): Megaphone-assisted readings by GĂĄbor VirĂĄg, Slobodan TiĆĄma, GĂĄbor Lanczkor, Tamara Ć uĆĄkiÄ, Vladimir Kopicl, Katalin Ladik, SiniĆĄa TuciÄ, Roland Orcsik 2011 Budapest (Hungary), Kunsthalle (Palace/Hall of Art) / MƱcsarnok: `PreparababrakabarĂ©` /performance/ Marseille (France), Museum of Contemporary Art / MusĂ©e d`Art Contemporain, PoĂ©sie Marseille 2011, 8Ăšme Festival (8th Marseille Poetry Festival, 2011): `Le Grand MĂ©nage` (Spring Cleaning) /performance/ TĂąrgu MureÈ (Romania), National Theatre - Small Hall / Teatrul NaĆŁional â Sala MicÄ, Testet öltött szavak rendezvĂ©ny (Words Embodied â Event series): `Alice` /performance/ Budapest (Hungary), Mu Theatre / Mu SzĂnhĂĄz, Ismeretlen kutatĂĄsa improvizĂĄciĂłs alkotĂłmƱhely (Searching the Unknown â Improvisational Workshop): `Hangmozdulat` (Sound Movement) (with Kati Dombi) /performance/ 2012 Budapest (Hungary), Hungarian Writers` Association / Magyar ĂrĂłszövetsĂ©g: XXIV. EkszpanziĂł Festival, `IdĂ©zet` Szimpozion Ă©s KiĂĄllĂtĂĄs (`Quotation` Symposium and Exhibition): `ĂsĂł, kapa, nagyharang` (`Till Death` lit.: Spade, Hoe and Bell) /performance/ KomĂĄrom (Hungary), Fort Monostor â Film Museum / Monostori ErĆd â FilmmĂșzeum, Mediawave 2012 Festival: `NagytakarĂtĂĄs` (`Spring Cleaning`) /performance/ ĆĂłdĆș (Poland), MS2 â Lodz Museum of Art / MS2 â Muzeum Sztuki w Ćodzi: `Alicja w krainie kodĂłw` (Alice in Codeland) /performance/ Budapest (Hungary), Address: 8th district, PĂĄl street 6.: Gödör bĂșjĂłcska â irodalom, zene, film, tĂĄnc, szĂnhĂĄz, beszĂ©lgetĂ©s (Gödör Club Hide-and-seek â literature, music, film, dance, theatre, discussions) /sound poetry performance/ Ottawa, Ontario, Canada, City Hall Art Gallery, A B Series Workshop: `NagytakarĂtĂĄs` (`Spring Cleaning`) /performance/ Ottawa, Ontario, Canada, Arts Court Theatre, A B Series: `Alice KĂłdorszĂĄgban` (`Alice in Codeland`) /performance/[10] 2013 Budapest (Hungary), Ăbudai TĂĄrsaskör, KassĂĄk Museum, KassĂĄk Year: `Alice KĂłdorszĂĄgban` (Alice in Codeland) /performance/[11] Hvar (Croatia), 17th International Festival of Radio Plays and Documentary Radio Dramas PRIX MARULIÄ, âTesla. Homo Galacticusâ /performance/ SzĂ©kesfehĂ©rvĂĄr (Hungary), Vörösmarty Theatre Studio, Contemporary Art Festival: `Alice KĂłdorszĂĄgban` (Alice in Codeland) /performance/[12] Budapest (Hungary), Fuga, AutonĂłmia Filmklub 5, âI Belong to the Bandâ: Katalin Ladik`s voice on âpoets of the absurd on chalkâ[13] 2014 SzĂĄzhalombatta (Hungary), Katalin Ladik - Endre SzkĂĄrosi, Slam Poetry /performance/ Budapest (Hungary), Mika Tivadar VigadĂł, JazzaJ, Katalin Ladik â Jean Michel van Schowburg, Katalin Ladik â Zsolt SĆrĂ©s, âSounds to Goâ (Hangok elvitelre) /performance/ [14] 2015 Eger (Hungary), Templom Gallery, artAlom Live Art Festival 2015: `Tranzit Zoon`, performance Gothenburg (Sweden), Gothenburg Book Fair `Tranzit Zoon`, performance Vienna (Austria), Campus AAKH Hof 7, UniversitĂ€t Wien, `Singende Schnittmuster â Singing Dress Pattern`, lecture-performance, multimedia slide-show 2016 PoreÄ (Croatia), Behind the Scenes with Katalin Ladik! Artists on Vacation: `The Sounds of a sewing machine`, Circe di Parenzoâ /performance/,[15][16] Budapest (Hungary), MĂSZI, @Transart Communication, Katalin Ladik & Zsolt SĆrĂ©s âAlchemical Weddingâ (AlkĂmiai nĂĄsz) /performance/ Milano (Italy), FM Centre for Contemporary Art, Non-Aligned Modernity. Eastern-European Art from the Marinko Sudac Collection. Katalin Ladik: âTranzit Zoonâ /performance/ [17] 2017 Athens (Greece), Oval Staircase, Megaron â the Athens Concert Hall, âAll the In-Between Spacesâ, Concept and direction by: Paolo Thorsen-Nagel. Katalin Ladik: âFollow me into mythologyâ /performance/ [18] Budapest (Hungary), Urania National Film Theatre, Janus Pannonius Grand Prize for Poetry 2017 Festivities of Hungarian Pen Club. Katalin Ladik: Sound Performance based on Concrete Poems of Augusto de Campos Limassol (Cyprus), Theatro Ena, SARDAM Mixed-media Literary Festival 5th edition, âLive Lectureâ /solo sound poetry performance/ Nicosia (Cyprus), Artos Foundation, SARDAM Mixed-media Literary Festival 5th edition âLive Lectureâ /solo sound poetry performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, `Spring Cleaning`, performance/ Limassol (Cyprus), SARDAM Mixed-media Literary Festival 5th edition, âWall(ed)â, aRttitude Site-specific dance performance, Katalin Ladik (live sound and voice). Budapest (Hungary), TrafĂł, âAlice in Codelandâ /multimedia performance/ Vienna (Austria), Lobby of Hotel Prinz Eugen, Erste Bank Publication Presentation âSound Poemsâ /live performance/ Novi Sad (Serbia), Museum of Contemporary Art Voivodina (MSUV), âK.A.T (Culture â Activism â Theory) Conferenceâ, âCreative Transitionsâ/live lecture, multimedia and sound poetry performance/ Novi Sad (Serbia), Bulevar Books, âTraNSporteur multilingual poetryâ /poetry reading/ Lodz (Poland), House of Literature, âPuls Literary Festival, 2017, Hungarian Dayâ, âSounds in Lodzâ / live lecture, multimedia performance and live sound poetry performance/ 2018 Berlin (Germany), neue Gesellschaft fĂŒr bildende Kunst (nBgK), `Alice in Codeland`, multimedia performance Berlin (Germany), Akademie der KĂŒnste, âUnderground und Improvisationâ, âFollow me into Mythologyâ /live lecture and soloperformance/ Berlin (Germany), Akademie der KĂŒnste, âUnderground und Improvisationâ, âDesire of Touchâ /Duoperformance with Natalia Pschenitschnikova/ Budapest (Hungary), Mersz Klub, âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture and soloperformance/ Budapest (Hungary), Hungarian University of Fine Arts, âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture with Emese KĂŒrti/ Budapest (Hungary), Közkincs KönyvtĂĄr, `MĆ°VĂSZ + NĆ` (ARTIST + WOMAN), âFeminizmus Ă©s mƱvĂ©szet ma?â (Feminism and Art Today?), âTĂșlĂ©lni a documenta 14-etâ (Surviving documenta 14) /live lecture/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day` /poetry reading/ Belgrade (Serbia), Cultural Center of Belgrade, `Spoken Word, World Poetry Day`, `Alice in Codeland` /multimedia performance/ Zagreb (Croatia), âShowroom of Contemporary Soundâ, âTransitionsâ /live lecture/ Rome (Italy), Falconieri Palace (Hungarian Academy in Rome), âFountains of Rome - Mouth to Lung!â /live lecture and sound performance/ Budapest (Hungary), HĂĄrom HollĂł â Drei Raben, âAntracit szĂĄjrĂșd (Antracit mouthpiece) /sound poetry performance/ Berlin (Germany), Akademie der KĂŒnste, `19. poesiefestival berlin 2018, Weltklang â Night of Poetry`, sound poetry performance Berlin (Germany), German Centre for Poetry (Haus fâĂŒr Poesie), `lyrikline - Listen to the Poet`, poetry reading and live voice recordings for the archive 2019 Basel (Switzerland), Music Academy of Basel, Master Class in Free Impovisation, âHomo Ludensâ (live lecture) Dresden (Germany), Lipsiusbau, âAlice in Codelandâ / performance Rotterdam (the Netherlands), DE PLAYER, in collaboration with KRAAK, âBRAUBLFF #8 (Materie und Laut), Memory of Water / sound installation and sound poetry performance Brussels (Belgium), DE PLAYER, in collaboration with KRAAK, âBRAUBLFF #8 (Materie und Laut), âMemory of Waterâ / sound installation and sound poetry performance Madrid (Spain), Elba Benitez Gallery, âO-PUSâ (solo exhibition curated by Adam Budak) / sound poetry performance Paris (France), Palais de Tokyo, The Liberated Voice, Sound Poetry, âMemory of Waterâ /sound installation 2020s[edit] 2020 London (UK), CafĂ© OTO, Tinted Window with issue No.2: Verbivocovisual dedicated to `Materializzazione del Linguaggio`, a 1978 Venice Biennale exhibition curated by Mirella Bentivoglio/ sound installation (Memory of Water) and performance (Tranzit Zoon) [19] Budapest (Hungary), Trafo Gallery, Nyitott mƱterem #21 (Open Studio), Zoom conversation with Emese KĂŒrti Budapest (Hungary), acb Attachments, âSzerelmem, Sing-her!â (My Love, Sing-her!). Opening of solo exhibition âSewn Soundsâ (Bevarrt hangok) 2021 VeszprĂ©m (Hungary), Pannon VĂĄrszĂnhĂĄz (Pannon Castle Theatre), âAlice KĂłdorszĂĄgbanâ (Alice in Codeland)/ performace Budapest (Hungary), Art9 Gallery, âĂj szakralitĂĄsâ (New sacrality) / sound poetry performance Budapest (Hungary), MAMĆ°, Opening of the exhibition âGraphic Scoreâ /sound poetry performance [20] Budapest (Hungary), KassĂĄk MĂșzeum, âA vĂz emlĂ©kezeteâ (âThe Memory of Waterâ), Finissage of the exhibition âPoetry & Performance - Performance Art in Eastern Europeâ /sound installation 2022 Budapest (Hungary), Godot Gallery, opening of the exhibition of drMĂĄriĂĄs / sound poetry performance [21] Vienna (Austria), Alte Schmiede, âakustische Poesieâ (âAcoustic poetryâ) / sound poetry performance [22] Bratislava (Slovakia), Slovak National Gallery, âFollow me into mythologyâ / sound poetry performance and live lecture Budapest (Hungary), KassĂĄk MĂșzeum, âSzkĂĄrosi-emlĂ©kestâ (Memorial evening), âGyaloghĂddal a csillaglejtĆnâ (Footbridge over the stargate )/sound poetry Berlin (Germany), Collegium Hungaricum, âThe Poetsâ Soundsâ / sound poetry performance Cologne (Germany), Loft, âThe Poetsâ Soundsâ / sound poetry performance London (UK), London Woolwich Works, LCMF (London Contemporary Music Festival) âSad and Ruinedâ /sound poetry performance Belgrade (Serbia), âThe Poetsâ Soundsâ / sound poetry performance Limassol (Cyprus), Art Studio 55, SARDAM-Literature Festival, sound poetry and âTranzit Zoonâ performance Workshops with performances (selection)[edit] 2018 Zagreb (Croatia), âShowroom of Contemporary Soundâ, âNoÄna pjesma morskih jeĆŸevaâ (âNight song of sea lizardsâ) /improvisation and sounding in visual and concrete poetry workshop for the students of the Department of Animation and New Media of the Fine Art Academy in Zagreb (OZAFIN), as a part of the project Re-Imagine Europe, co-funded by the Creative Europe programme of the European Union/ [23] 2021 Berlin (Germany), LettrĂ©tage im ACUD Studio, Poetsâ Sound Production Workshop 1, creation of the visual score âDrei Eierâ Cologne (Germany), LOFT Cologne, Poetsâ Sound Production Workshop 2, finalizing the visual score âDrei Eierâ Berlin (Germany), Collegium Hungaricum Berlin, Poetsâ Sound Production Workshop 3, rehearsal of the visual score based performance âDrei Eierâ Concerts, musical performances (selection)[edit] 1969 Opatija (Croatia): Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) (ErnĆ KirĂĄly: Refleksija) 1970 Opatija (Croatia): Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) (ErnĆ KirĂĄly: Refleksija; Branimir SakaÄ: Bellatrix - Alleluja) Novi Sad (Serbia): Muzika i Laboratorija (Music and Laboratory) (with ErnĆ KirĂĄly) Osijek (Croatia): Annale komorne opere i baleta (Annual festival of chamber opera and ballet) 1971 Zagreb (Croatia): MuziÄki biennale (Music Biennale â International Festival of Contemporary Music) (MBZ Radionica/Workshop II with ErnĆ KirĂĄly, et al.; Chamber Music - Branimir SakaÄ: Bellatrix - Alleluja) Dubrovnik (Croatia): DubrovaÄke ljetne igre (Dubrovnik Summer Festival) (ACEZANTEZ Ensemble) Radenci (Slovenia): Festival sodobne komorne glazbe (Contemporary Chamber Music Festival) 1972 Munich (Germany): (Cultural Program of the 1972 Summer Olympics) (ACEZANTEZ Ensemble) Radenci (Slovenia): Festival sodobne komorne glazbe (ACEZANTEZ Ensemble) (Contemporary Chamber Music Festival) Osijek (Croatia): Annale komorne opere i baleta (ACEZANTEZ Ensemble) (Annual festival of chamber opera and ballet) Novi Sad (Serbia), âRadivoj Äirpanovâ Workersâ University / RadniÄki univerzitet âRadivoj Äirpanovâ (ACEZANTEZ Ensemble) Belgrade (Serbia), Studentski kulturni centar (Student Cultural Centre) â Festival Expanded Media (ACEZANTEZ Ensemble) 1979-2012 Belgrade (Serbia), Dom Sindikata â BEMUS Belgrade Music Festival: âOratorio Profanoâ (composer: DuĆĄan RadiÄ, conductor: Oskar Danon) Opatija (Croatia): Jugoslovenska muziÄka tribina (Yugoslav Music Tribune) Budapest (Hungary), Spiritus Noister Group, 1996, 2002, 2004, 2007, 2008, 2009, 2010, 2011, 2012 Budapest (Hungary), Italian Cultural Institute / Olasz kultĂșrintĂ©zet / Istituto Italiano di Cultura, AvantgĂĄrd mƱvĂ©szetek a vilĂĄgban: mi lett a sorsuk? Nemzetközi tanĂĄcskozĂĄs (Avant-garde Arts in the World: What About Them? International conference): `Futurdadama (Futurdada Today)`, Spiritus Noister, 2001 Vienna (Austria), Spiritus Noister Group, 2004 Szentendre (Hungary), Spiritus Noister Group, 2009 SzekszĂĄrd (Hungary), Spiritus Noister Group, 2012 2016 Budapest (Hungary), MƱvelĆdĂ©si Szint (MĂSZI), â@Transart Communication 2016â, âAlchimist Weddingâ /concert and live sound performance with Zsolt SĆrĂ©s/ VeszprĂ©m (Hungary), House of Arts, âAlkĂmiai mennyegzĆâ (âAlchimist Weddingâ) /concert and live sound performance with Zsolt SĆrĂ©s/ Budapest (Hungary), MĂŒpa, UH Fest, Spiritus Noister /concert and live sound performance with Endre SzkĂĄrosi, Zsolt SĆrĂ©s, LĂĄszlĂł Lenkes/ Budapest (Hungary), Kassak Museum, âDadarabokâ /concert and live sound performance with Endre SzkĂĄrosi, Zsolt SĆrĂ©s, LĂĄszlĂł Lenkes/[24] 2017 Budapest (Hungary), 2017: Muted and silent films with live music series, I Belong To The Band vs. Berberian Sound Studio 2018 Debrecen (Hungary), MODEM, Katalin Ladik: âHatĂĄridĆnaplĂłâ (âDiary Bookâ) /concert and live sound performance with Gyula VĂĄrnai/ VeszprĂ©m (Hungary), 2018, House of Arts, âSpring Reopening, We believe in life before deathâ, âClaes Oldenburg: I am for an Artâ /concert and live sound performance with Gyula VĂĄrnai/ Basel (Switzerland), IGNM, Ackermannshof, Free Improvisation based on graphic scores of ErnĆ KirĂĄly and Katalin Ladik Budapest (Hungary), FUGA Centre for Architecture, Design Week, Attila DĂłra (bass clarinate), Katalin Ladik (vocal) Budapest (Hungary), Budapest Music Center (BMC), Wortlaute II, Transparent Sound New Music Festival, Ladik Katalin, âHa mĂșlna e lĂĄngâ 2019 âą Belgrade (Serbia), artist in residence at the Radio Beograd Electronic Studio, Katalin Ladik and Svetlana MaraĆĄ have created three new pieces (Electric Bird, White Bird and Ice Bird) [25] Speech-music performances[edit] Author âDrei Eierâ (German, Serbian, Hungarian), presented by Sprechbohrer (Sigrid Sachse, Harald Muenz and Georg Sachse), âDrei Eierâ (German, Serbian, Hungarian) [26] Theatre[edit] As an actress[edit] Jean-Paul Sartre: The Condemned of Altona; dir. IstvĂĄn LĂĄnyi; IfjĂșsĂĄgi TribĂŒn (Tribina Mladih / Youth Tribune); Novi Sad (Serbia); 1963 Imre Sarkadi: Elveszett Paradicsom (Paradise Lost); dir. Tibor GellĂ©r; PetĆfi SĂĄndor MƱvelĆdĂ©si EgyesĂŒlet (âPetĆfi SĂĄndorâ Cultural Association); Novi Sad (Serbia); 1963 MoliĂšre: The Imaginary Invalid (BĂ©line); dir. Ljubica Ravasi; Srpsko Narodno PozoriĆĄte (Serbian National Theatre); Novi Sad (Serbia); 1966 (Exam Piece) SĂĄndor Guelmino: Ăzvegy (Widow); dir. Tibor Vajda; Echo (az ĂjvidĂ©ki RĂĄdiĂł Ă©s az IfjĂșsĂĄgi TribĂŒn szĂnpada / the joint theatre of Radio Novi Sad and the Youth Tribune); Novi Sad (Serbia); 1969 Ferenc TĂłth (text) â ErnĆ KirĂĄly (composer): JĂłb (Job) (Performer â Recitative); dir. IstvĂĄn SzabĂł, Jr.; NĂ©pszĂnhĂĄz / Narodno PozoriĆĄte u Subotici (National Theatre in Subotica); Subotica (Serbia); 1972 IstvĂĄn ĂrkĂ©ny: MacskajĂĄtĂ©k (Cats` Play) (Ilus); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1974 Peter Weiss: How Mr. Mockinpott was cured of his Sufferings (First Angel/First Nurse); dir. Radoslav DoriÄ; RĂłbert Bambach; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1974 Ădön von HorvĂĄth: Tales from the Vienna Woods (Emma); dir. RĂłbert Bambach; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1975 Gergely Csiky: MukĂĄnyi (Ella); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1976 Valentin Kataev: Squaring the Circle (Tanya); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1977 MoliĂšre: Dom Juan or The Feast with the Statue (Mathurine); dir. DuĆĄan Sabo; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: Three Sisters (Masha); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Ădön von HorvĂĄth: Tales from the Vienna Woods (Emma); dir. PĂ©ter Telihay; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1978 Anton Pavlovich Chekhov: The Cherry Orchard (Charlotta Ivanovna); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1979 OttĂł Tolnai: VĂ©geladĂĄs (Clearance Sale) (Mrs Csömöre); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1979 Gyula HernĂĄdi: V.N.H.M. Szörnyek Ă©vadja (V. N. H. M. - Season of Monsters); dir. MiklĂłs JancsĂł; Summer Theatre in Gyula; VĂĄrszĂnhĂĄz; (Hungary); 1980 Edward Albee: Everything in the Garden (Cynthia); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1980 Angelo Beolco (Il Ruzzante): La Betia; dir. Radoslav DoriÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 OttĂł Tolnai: Bayer Aspirin (The Actress); dir. MiklĂłs JancsĂł; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 Ferenc DeĂĄk: Nirvana (Csontos Vali); dir. IstvĂĄn SzabĂł Jr.; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1981 Bertolt Brecht: Baal (Emilie); dir. Milan BelegiĆĄanin; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1983 DezsĆ KosztolĂĄnyi: Anna Ădes ( Mrs Druma); dir. György Harag; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1983 Alexander Vvedensky: Jelka kod Ivanovih (Christmas at the Ivanovâs) (Mother Puzirjova); dir. Haris PaĆĄoviÄ; Akademsko PozoriĆĄte âPromenaâ (âChangeâ Academic Theater); Novi Sad; (Serbia); 1983 MihĂĄly MajtĂ©nyi: Harmadik ablak (The Third Window) (Mrs LĂłdi); dir. György HernyĂĄk; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1984 Alfred Jarry: Ubu Roi (Mama Ubu); dir. Tibor Csizmadia; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1984 Gyula Gobby FehĂ©r: A Duna menti Hollywood (Hollywood by the Danube) â Multimedia Performance About the Life of ErnĆ BosnyĂĄk (The Baron`s Lover); dir. KĂĄroly Vicsek; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Ivo BreĆĄan: Anera (Anera); dir. Dimitar Stankoski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Peter Shaffer: Equus (Hesther Salamon); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1985 Howard Barker: The Castle (Skinner); dir. David Gothard; NĂ©pszĂnhĂĄz / Narodno PozoriĆĄte u Subotici (National Theatre in Subotica); (Serbia); 1986 Friedrich DĂŒrrenmatt: The Visit (First Woman); dir. Radoslav DoriÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1986 IstvĂĄn ĂrkĂ©ny: ForgatĂłkönyv (Screenplay) (Mrs Littke); dir. Ljubisa Georgievski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1986 IstvĂĄn ĂrkĂ©ny: TĂłtĂ©k (The TĂłt Family) (Mrs TĂłt); dir. GĂĄbor SzĂ©kely; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Edward Albee: A Delicate Balance (Julia); dir. MihĂĄly VirĂĄg; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Jordan Plevnes: âRâ (Katerina); dir. Ljubisa Georgievski; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1987 Johann Wolfgang von Goethe: Clavigo (Soffe); dir. Vladimir Milcin; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1988 Samuel Beckett: Happy Days (Winnie); dir. Radoslav LaziÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1988 Henrik Ibsen: An Enemy of the People (Mrs Stockmann); dir. Ćœelimir OreĆĄkoviÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1989 Ferenc MolnĂĄr (Franz Molnar): Liliom (Mrs MuskĂĄt); dir. LĂĄszlĂł Babarczy; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1990 Ede TĂłth: A falu rossza, avagy a negyedik ablak (The Village Rogue; Or, the Fourth Window) (Mrs TarisznyĂĄs); dir. HernyĂĄk György; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1990 OttĂł Tolnai: Paripacitrom (lit. Steed dung) (Krisztina); dir. PĂ©ter Tömöry; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 Marcel Achard: L`Idiote (A Shot in the Dark) (Chief Inspector`s Wife); dir. Tibor Vajda; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 Bertolt Brecht: Mother Courage and Her Children (Mother Courage); dir. Lajos Soltis; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1991 JĂłzsi JenĆ TersĂĄnszky: Kakuk Marci (Her Ladyship); dir. Lajos Soltis; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1992 Jean Anouilh: The Orchestra (Cello); dir. Voja SoldatoviÄ; ĂjvidĂ©ki SzĂnhĂĄz (Novi Sad Theatre); (Serbia); 1992 PĂ©ter NĂĄdas (text) â LĂĄszlĂł Vidovszky (composer): TalĂĄlkozĂĄs (Encounter) (MĂĄria); dir. AndrĂĄs Ăry-KovĂĄcs; Shure Studio; Budapesti KamaraszĂnhĂĄz (Chamber Theatre in Budapest); (Hungary); 1997 Boris Vian: Vercoquin et le Plancton (Vercoquin and the Plankton) (LĂ©on Charles Miqueut sous-ingĂ©nieur principal di CNU / Sub head-engineer at CNU); dir. RĂłbert Csontos; Kolibri SzĂnhĂĄz (Kolibri [âHummingbirdâ] Theatre); Budapest (Hungary); 1997 Sean OÂŽCasey: Bedtime Story (Landlady); dir. PĂĄl Kanda; FĂŒggeten SzĂnpad III tĂĄrsulata (3rd Company of Independent Theatre); Kolibri Pince (Kolibri [âHummingbirdâ] Cellar Theatre); Budapest (Hungary); 1998 LĂĄszlĂł NajmĂĄnyi: Adieu Monsieur Bloom â Cabaret Noire (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Les Fleurs du Mal; `The Thinking Man`s Living Theatre`; Mu SzĂnhĂĄz (Mu Theatre); Budapest; (Hungary); 2003 LĂĄszlĂł NajmĂĄnyi: A szĂĄmƱzött Joyce / The Exiled Joyce (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Bloomsday Festival; Szombathely; (Hungary); 2003 Radoslav Zlatan DoriÄ: Ne daj BoĆŸe, da se Srbi sloĆŸe / Ne adj isten, szerbek egyesĂŒlnek (God Forbid That the Serbs Should Agree) (Ruska); dir. Radoslav Zlatan DoriÄ; MagyarorszĂĄgi Szerb SzĂnhĂĄz / Srpsko PozoriĆĄte u MaÄarskoj (Serbian Theatre of Hungary); Budapest; (Hungary); 2004 LĂĄszlĂł NajmĂĄnyi: Nova Necropola. Cabaret Noire (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; Mu SzĂnhĂĄz (Mu Theatre); Budapest; (Hungary); 2004 LĂĄszlĂł NajmĂĄnyi: Az igazi Blum (The Real Blum /Bloom/) (Nora Barnacle); dir. LĂĄszlĂł NajmĂĄnyi; ReJoyce Festival; Szombathely; (Hungary); 2004 György BarĂĄthy: Origami (I Woman); dir. György BarĂĄthy; ArtĂ©ria SzĂnhĂĄzi TĂĄrsasĂĄg (Theatre Company âArtĂ©riaâ); RS9 Studio Theatre; Budapest; (Hungary); 2005 Torkolat/Estuary (Unborn child), dir: Al Farman Petra (Freeszfe), Freeszemle, KirĂĄly fĂŒrdĆ, Budapest (Hungary), 2022 Szabadkai szecessziĂł/Art Nouveau in Subotica based on George Taboriâs My Motherâs Courage (Mother), dir: Zlatko PakoviÄ, KosztolĂĄnyi DezsĆ SzĂnhĂĄz. Subotica, 2021 As a director[edit] The Last Chapter by Navjot Randhawa, performed by theâTheatre of Roots and Wingsâ and Punjab Sangeet Natak Akademi in P