Page 377 - Vinkler, Jonatan, in Jernej Weiss. ur. 2014. Musica et Artes: ob osemdesetletnici Primoža Kureta. Koper: Založba Univerze na Primorskem.
P. 377
summaries
same time but aspire to opposing graphic ideals transcends stylistic bound-
aries. In Slovenia after WWI, for example, the lawyer and composer Anton
Lajovic (1878–1960), a cultural and national ideologist, acted as radically as
his contemporary avant-garde modernists, although their creative principles
were different (mostly following the principles of the neo-Romantic period).
Even programme eliminationism based on class ideology after WWII, which
excluded certain musical genres (in Yugoslavia, jazz music, which Marshal
Tito perceived as a potentially fatal foreign influence on national life), warns
of the limited scope of historical research of different areas of artistic creation
based on stylistic groups.
Aleš Gabrič
Primož Kuret’s Monograph on the Philharmonic Society
in Terms of the Nationally Conceived Perception of the Past
The article analyses the relationship to the display of cultural creativity in the
area of today’s Slovenia in Slovenian scientific literature. The importance of
Slavic languages in public, in education and in scientific works increased with
the Austrian reforms after 1848. Slovene became the language of art and sci-
entific work, and even prior to WWI Slovenian societies successfully com-
peted with German societies on Slovenian territory. After the war and the be-
ginning of the Kingdom of Serbs, Croats and Slovenes, the German language
was gradually banished from cultural institutions. The memory of the previ-
ous German societies and cultural institutions faded due to one-sided histor-
ical research, to studies only of “Slovenian” and excluding “German”. A na-
tionalised myth of the “Sloveneness” of the territory already in the distant
past spread to scientific work and school education.
Changes in perception in terms of including German cultural creativity on
Slovenian territory in the past gained great momentum after the fall of Com-
munist regimes and the integration of European countries. Humanistic re-
search work focused more on finding common ground in historical devel-
opment. Primož Kuret’s book on the Philharmonic Society of Ljubljana
published in 2005 played an important part in this area. This is the first com-
prehensive monographic depiction of a cultural institution in today’s Slove-
nia which used the German language in the past. With this volume, Kuret
advanced his research work, which he began prior to the political coup in the
1990s. On the example of this book, the article highlights concern about the
diversity of approaches in displaying the cultural past on Slovenian soil in the
20th century and the beginning of the 21st century.
375
same time but aspire to opposing graphic ideals transcends stylistic bound-
aries. In Slovenia after WWI, for example, the lawyer and composer Anton
Lajovic (1878–1960), a cultural and national ideologist, acted as radically as
his contemporary avant-garde modernists, although their creative principles
were different (mostly following the principles of the neo-Romantic period).
Even programme eliminationism based on class ideology after WWII, which
excluded certain musical genres (in Yugoslavia, jazz music, which Marshal
Tito perceived as a potentially fatal foreign influence on national life), warns
of the limited scope of historical research of different areas of artistic creation
based on stylistic groups.
Aleš Gabrič
Primož Kuret’s Monograph on the Philharmonic Society
in Terms of the Nationally Conceived Perception of the Past
The article analyses the relationship to the display of cultural creativity in the
area of today’s Slovenia in Slovenian scientific literature. The importance of
Slavic languages in public, in education and in scientific works increased with
the Austrian reforms after 1848. Slovene became the language of art and sci-
entific work, and even prior to WWI Slovenian societies successfully com-
peted with German societies on Slovenian territory. After the war and the be-
ginning of the Kingdom of Serbs, Croats and Slovenes, the German language
was gradually banished from cultural institutions. The memory of the previ-
ous German societies and cultural institutions faded due to one-sided histor-
ical research, to studies only of “Slovenian” and excluding “German”. A na-
tionalised myth of the “Sloveneness” of the territory already in the distant
past spread to scientific work and school education.
Changes in perception in terms of including German cultural creativity on
Slovenian territory in the past gained great momentum after the fall of Com-
munist regimes and the integration of European countries. Humanistic re-
search work focused more on finding common ground in historical devel-
opment. Primož Kuret’s book on the Philharmonic Society of Ljubljana
published in 2005 played an important part in this area. This is the first com-
prehensive monographic depiction of a cultural institution in today’s Slove-
nia which used the German language in the past. With this volume, Kuret
advanced his research work, which he began prior to the political coup in the
1990s. On the example of this book, the article highlights concern about the
diversity of approaches in displaying the cultural past on Slovenian soil in the
20th century and the beginning of the 21st century.
375
