South East Europe

Televizijska drama (televizijski igrani film) San doktora Mišića, Radio-televizija Beograd, Srbija (SFRJ), 1973. Režija: Branko Pleša; TV adaptacija (scenarij): Branko Ivanda, prema noveli Ksavera Šandora Gjalskog; snimatelj: Branko Popović; glazba: Baronijan Vartkes; scenograf: Veljko Despotović; kostimograf: Branko Ćatović; glume: Ljuba Tadić, Milan Puzić, Voja Mirić, Janez Vrhovec, Dragomir Felba, Dragomir Lončar, Olga Spiridonović, Vasja Stanković, Blaženka Katalinić, Anita Ilić; trajanje 70 minuta; crno-bijela tehnika. Uvod 1 Branko Ivanda, istaknuti hrvatski filmski i televizijski redatelj te scenarist, napisao je televizijsku adaptaciju novele San doktora Mišića Ksavera Šandora Gjalskog, scenarij istoimene televizijske drame 2 , u režiji Branka Pleše, svestranog srpskog glumca, scenarista i (prvenstveno televizijskog) redatelja. Ivanda je kao književni predložak koristio novelu Ksavera Šandora Gjalskog i u svojoj televizijskoj drami Nocturno (1974), izvorno snimljenoj za Televiziju Zagreb, a prikazanoj u kinima u tehnološki prerađenoj verziji, pod naslovom Noć poslije smrti (1983). 3 No, za ovu se prigodu zanimljivijom temom ipak čini televizijska poetika drame San doktora Mišića (1973), snimljene u produkciji Televizije Beograd, u kojoj se u okvirima " novog " , televizijskog medija može locirati naslijeđe romantizma, shvaćenog i na tragu tumačenja romantizma kao epohe i na tragu definicija poetike ili poetika romantizma. Na samom početku vrijedi reći da, u govoru o poetici ove televizijske drame naglasak neće biti na distinkcijama pojedinih autorskih doprinosa i drugih silnica zaslužnih za nastanak drame, odnosno na redateljskoj, scenarističkoj, žanrovskoj i inoj sastavnici poetike, ali će se na neke od tih specifičnosti ipak 1 Zahvaljujem filmologu Tomislavu Šakiću za pomoć u pribavljanju vizualnog materijala, a komparatistici Cvijeti Pavlović za metodološke sugestije. 2 Drama je naziv za televizijski igrani film. Odrednica " televizijski " podrazumijeva i stilske konvencije (češći krupni plan, rjeđi total i slično). O oblicima filmskoga zapisa vidi: Peterlić, Ante, Osnove teorije filma, Zagreb, Hrvatska sveučilišna naklada, 1999. Kod televizije se u radu misli na inačice oblika filmskoga zapisa, premda bi teorijska dosljednost nalagala zasebno ime izražajnih sredstava televizije. 3 Novela se zove Notturno a drama Nocturno; usp. Gilić, Nikica, " Notturno: položaj novele i filma u mijeni stilskih formacija " , Komparativna povijest hrvatske književnosti. Zbornik radova I., ur. Duda, Dean et al., Split, Književni krug Split, 1999. I drama i novela mogu se, zbog motiva " lude ljubavi " prispodobiti nadrealizmu (Zlatno doba Luisa Buñuela iz 1930), ali su ipak sličnije manje radikalnim, nadrealizmu tek bliskim filmovima poput Petera Ebbetsona (1935) Henryja Hathawaya i izrazitije populističke Marijane moje mladosti (1955) Juliena Duviviera.

"Th[is] chapter takes us to the midst of the Cold War environment which separated Greece from its northern neighbours, while inducing antagonism and military competition from the outside South East Europe. During such difficult times, however, the region’s leaders tried, more often than not, to avoid mutual confrontation. Hence the selective attempts by Greece to reengage with its neighbours during the Cold War. Indeed, by the 1970s, ideological rifts mattered less than converging national interests, so much so that Greece reengaged with its neighbours while under a military junta. Alexandros Nafpliotis studies the colonels’ regime, which re-established diplomatic relations with Albania, one of Europe’s most hardline communist dictatorships, after a freeze lasting more than 30 years. Nafpliotis argues that economic cooperation and strategic calculations trumped the logic of ideological rivalries and extreme ideological enemies, such as Enver Hoxha in Tirana and the military the junta in Athens, chose to explore paths of cooperation."

The EU State aid rules are part of the Energy Community acquis. During the last years, most of the Contracting Parties have adopted a national State aid law and established national Monitoring Authorities. Limited research has been conducted to assess the degree of enforcement of State aid law in the Contracting Parties in the energy sector. By analyzing the decisions adopted by the State Aid Monitoring Authorities of the Contracting Parties and a number of international reports on this issue, this paper aims at filling this gap in the literature. The paper concludes that the enforcement of State aid rules in the Contracting Parties generally does not go beyond the formal adoption of the State aid rules. The State Aid Monitoring Authorities of the Contracting Parties usually are not notified by the granting authorities of new aid schemes in the energy sector. Even when notified, the Monitoring Authorities have generally followed a non-interventionist approach vis a vis the subsidies schemes granted by the Contracting Parties in the energy sector. In particular, they have approved State aids without due regard to the case law of Court of Justice of the European Union (CJEU) and the Decisions of the EU Commission in this area. The paper argues in favor of a reform of the current system of enforcement of State aid rules in the Energy Community: similarly to the EU Commission vis a vis the EU Member States, the Secretariat of the Energy Community should be empowered to review ex-ante new aid schemes that the Contracting Parties intend to grant in the energy sector. Alternatively, the Contracting Parties should be legally required to notify to the Secretariat any new aid scheme and every decision adopted by the Monitoring Authority in the field of energy.

This paper appeared in Balkan Nationalism(s) and the Ottoman Empire, vol.3: The Young Turk Revolution and Ethnic Groups. It argues that the Albanian Vilayets were a contested region between the Ottoman State, Balkan Nationalists, and the Great Powers.

The text is an English version of the original published in Italian as: Tomić - Koludrović, Inga and Petrić, Mirko (2007) "Da societa in transizione a societa mista: la Croazia tra due modernizzazioni", in Botta, F., Garzia, I. and Guaragnella, P. (eds.), La questione adriatica e l'allargamento dell'Unione europea, Milano: Franco Angeli, pp. 127-161.

This study is conducted within and for the international project ATRIUM (ATRIUM – Architecture of Totalitarian Regimes in Urban Management) and focuses on the architectural aspects of totalitarian regimes in the region of South East Europe. The aim of the project is to substantiate the possibility of introducing a  thematic cultural route based on this heritage that is still young and unexplored. The end product of ATRIUM is intended to be a dossier of a cultural route that will be submitted to the Council of Europe to apply for the status "Cultural Route of the Council of Europe." Such status will be a recognition that the proposed system combines cultural and historical sites of European significance and promotes cultural exchanges between countries in Europe. In addition, such recognition is necessary for the totalitarian heritage to leave the framework of traumatic memory and become subject to diverse and complex scrutiny and interpretation. Currently the network of European cultural routes consists of 24 different topics and ATRIUM offers a new 25th, and so far undeveloped, theme.