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Štrumpfovi su nastali 23.OKTOBRA 1958. godine kada su izašli u novinama „Le Journal de Spirou“. Njihov kreator bio je Pierre Culliford – poznat kao Peyo. Isprva, Štrumpfovi su bili samo sporedni likovi, ali kakoje rasla njihova popularnost napravljen je i njihov prvi film “The Smurfs and the Magic Flute”.Nakon toga izašla je i Štrumpfova pjesma koju je napisao Vader Abraham i koja je postala veliki hit u Belgiji i Holandiji. 1981. godine najfamozniji duet Hanna & Barbera ( stvorili su Tom i Jerryja, a kasnije i Flinstonese i Yogi Beara) počeli su raditi za NBC program, i tada su producirale 256 epizoda Štrumpfova koje su se prikazivane diljem 30 zemalja.
Mada, njihov kreator više nije s nama (umro je na Božić 1992. god.) Štrumpfovi nikad nisu bili popularniji. Rasprodano je više od 10 milijuna kopija u proteklih 3 godine. Štrumpfove knjige, stripovi, figurice i igračke su jedne od najpopularnijih na svijetu. Tko zna što nas još sve očekuje od Štrumpfova?

U jednoj dalekoj šumi nalazi se jedno malo selo. U tom malom selu među cvijećem, u kućicama koje liče na šumske pečurke, žive Štrumpfovi. Nitko ne može pronaći to selo ukoliko ga Štrumpfovi ne pozovu. A tko su Štrumpfovi? Visoki su kao tri jabuke, imaju plavu kožu i obučeni su u bijele hlače i bijele kapice. Štrumpfovi imaju preko 100 godina. Veliki Štrumpf (Papa Smurf) je u listopadu 1958. god. napunio 542 godine. Međutim, Štrumpfovi nikad ne ostare. Beba Štrumpf će uvijek biti beba, a Štrumpfeta?? Pa……Nju nikad nije nitko pitao koliko ima godina. U selu Štrumpfova ne postoji novac: svatko radi onoliko koliko može i ono što najbolje zna; svatko uzima onoliko koliko mu je potrebno. Svi su složni, vole se igrati i svima pomagati. Zato se Štrumpfovi plaše ljudi. Jer znaju da je njima najvažnije da imaju što više novaca, da kradu jedni od drugih, da se svađaju…
Štrumpfovi imaju i svoj strani jezik. Neke riječi i glagoli zamijenjene su sa riječi „Štrumpf“.

Vođa Štrumpfa ima bijelu pticu i crvenu odjeću. On je najmudriji od svih Štrumpfova. Uvijek spašava Štrumfove od opasnosti. Jako je dobar alkemičar. U svojem laboratoriju često štrumpfuje razne čarolije i čudesne napitke.

Smurfette (Štrumpfeta)
Zli čarobnjak Gargamel je napravio zlog, ženskog Štrumfa da bi nadmudrio sve u selu. Ali, veliki Štrumpf je upotrijebio svoju magiju i zlu, crnu Štrumpficu pretvorio u plavu, lijepu i dobru Štrumpfetu koju svi u selu obožavaju.

Azrael

Gargamel ima svog mačka, koji je podjednako zločest i pokvaren. Mašta o tome da jednog dana pojede slatkog i sočnog štrumpfa, i stalno se oblizuje misleći o tome.

Bigmouth

Bigmouth je dobar ali zaboravljiv div koji ima veliki apetit. Nitko nezna od kud dolazi. On misli samo na hranu….To je bio veliki problem za Štrumpfove, jer zločesti Gargamel je uvjerio Bigmoutha da Štrumpfovi imaju okus po najukusnijoj juhi.

Johan i Peewit (skraćeno Pee-wee) su jedina dva ljudska prijatelja od Štrumpfova. Žive u Kraljevoj palači, a Štrumpfove su prvi put upoznali u potrazi za čarobnom frulom; frulom od Harmony Štrumpfa. Johan je dječak koji jaše konja, i čuva siromašne ljude od nasilnika. A Peewit voli svoju Biquette…

Djed Štrumpf je najstariji Štrumpf. Njegova energija i entuzijazam su vrlo impresivni. Osim što nosi žutu kapu i žute hlače, prepoznatljiv je i po svojim žutim naočalama.. Voli pričati svoje doživljaje i pokazivati svoje suvenire koje je sakupljao tokom života.

The Smurfs are a fictional group of small sky blue creatures who live in Smurf Village somewhere in the woods. The Belgian cartoonist Peyo introduced Smurfs to the world in a series of comic strips, making their first appearance in the Belgian comics magazine Le Journal de Spirou on October 23, 1958. The English-speaking world perhaps knows them best through the popular 1980s animated television series from Hanna-Barbera Productions, “The Smurfs.”

In 2005, an advertisement featuring The Smurfs was aired in Belgium in which the Smurf village is annihilated by warplanes. Designed as a UNICEF advertisement, and with the approval of the family of the Smurfs’ late creator Peyo, the 25-second episode was shown on the national evening news after the 9pm timeslot to avoid children seeing it. It was the keystone in a fund-raising campaign by UNICEF’s Belgian arm to raise money for the rehabilitation of former child soldiers in Burundi and the Democratic Republic of the Congo—both former Belgian colonies.

In honor of their 50th anniversary in 2008, the Smurfs began a year long tour in connection with UNICEF. The Smurfs have made appearances in various countries on the day of their 50th “Smurfday”, in the form of publicly-distributed white figurines which recipients can decorate and submit to a competition. The results of this contest are to be auctioned off in order to raise funds for UNICEF.

The Smurfs in other languages

• Arabic: سنافر (sanafer) or singular: سنفور (sanfur)
• Basque: pottokiak (singular: pottoki), after the Basque pony race pottoka. Early editions used pitufoak, straight from Spanish.
• Breton: Ar Chmarfed (singular : Chmarf). Name found in the book of Dreo Koulouarn (a Breton writer) : Rimoù ha Sonioù.
• Bulgarian: Смърфовете (Smurfovete) - The Smurfs or singular: Смърф (Smurf).
• Catalan: Barrufets (singular: Barrufet), Catalan for little wind evil or goblin.
• Chinese: 蓝精灵 (Simplified Chinese) /藍精靈 (Traditional Chinese) (lán jīng líng) - blue fairy spirits/elves/pixies; 藍色小精靈 (lán sè xiǎo jīng líng) - blue coloured little fairy spirits/elves/pixies
• Croatian: Štrumpfovi (singular: Štrumpf)
• Czech: Šmoulové (singular: Šmoula), name based on their light blue colour.
• Danish: Smølfer(ne) (singular: smølf). Originally published as “Snøvserne” (singular: snøvs)
• Dutch: smurfen (singular: smurf), original language to use “smurf” as translation of “schtroumpf”.
• Estonian: smurfid (singular: smurf)
• Finnish: smurffit (singular: smurffi) [the word "strumffit" (singular: strumffi) was used in the 1970s, but smurffit became the de-facto-standard translation during the 1980s]. When they were first published in Finland in the early 70’s, they were called Muffet (singular: Muffe). “Smurffit” is also a slang word in the Helsinki area for public transport ticket inspectors, who wear blue uniforms.^{[citation needed]}
• French: schtroumpfs (singular: schtroumpf)
• German: Schlümpfe (singular: Schlumpf). The original French schtroumpf sounds very similar to the German word Strumpf meaning “sock” or “stocking“.
• Greek: (Both plural and singular) Στρουμφ (stroumf) or Plural: Στρουμφάκια (stroumfakia) Singular: Στρουμφάκι (stroumfaki)
• Hebrew: דרדסים (dardasim) or singular: דרדס (dardas). Dardak is a small child. The somewhat rare Hebrew word “dardas” has a totally unrelated meaning (slipper or overshoe), and therefore should be treated as an invented word when referring to smurfs. It is still used in an insulting manner towards short people.
• Hungarian: törpök (singular: törp), and also: hupikék törpikék (singular: hupikék törpike). Törp is the distorted version of the word törpe (dwarf); Tolkien’s dwarves are also called so. Please note that it is a spelling mistake to write these terms in capital letters.
• Icelandic: strumparnir (singular: strumpur)
• Indonesian: smurf
• Italian: puffi (singular: puffo), the name has been reinvented from scratch because in Italian language the “schtroumpf” (or in Italian spelling ’strumpf’) reminds speakers of the slang Italian word “stronzo”, literally meaning ‘turd’ and, by extension, ‘asshole’. The fantasy name “puffi” is derived from the word “buffi” (singular: buffo, as in opera buffa) a word meaning at same time “funny” and “strange”.
• Japanese: スマーフ (sumāfu - a phonetic approximation)
• Korean: 스머프 (seumeopeu - a phonetic approximation)
• Lithuanian: smurfai (singular: smurfas)
• Macedonian: Штрумфови (Štrumfovi) or singular: Штрумф (Štrumf)
• Norwegian: smurfene (singular: smurf)
• Polish: smerfy (singular: smerf; since the 1990s used as a slang word for traffic policemen due to their blue uniforms and white caps)
• Portuguese: estrumpfes (singular: estrumpfe) in Portugal; in early editions they were called Schtroumpfs, as in the original French. Brazil knows them as smurfs, but when first introduced in the storybook format they were called “Strunfs”
• Romanian Ştrumfi (singular: Ştrumf)
• Russian Смурфы (Smurfy) or singular: Смурф (Smurf)
• Serbian: Штрумпфови (Štrumpfovi) or singular: Штрумпф (Štrumpf)
• Slovak: Šmolkovia (singular: Šmolko)
• Slovenian: Smrkci (singular: Smrkec)
• Spanish: Pitufos (singular: Pitufo; female: Pitufita or Pitufina). The name derives either from “Patufet“, a slightly similar looking character (short, smurfish cap wearing) of the Catalonian folklore (basically, the Catalan counterpart of British Tom Thumb), or from pituso^[10] (”cute child”). The term “Pitufo” was later incorporated in Spanish slang meaning “local policeman” due to their blue uniforms. In 1974, the Smurfs appeared in TBO Magazine under the name “Tebeítos”.
• Swedish: Smurfer(na) originally, currently more often called “smurfar(na)” (singular: smurf)
• Turkish: Şirinler (singular: Şirin) the name means cute in Turkish.
• Urdu: اسمرف (ismarf)
• Vietnamese: xì trum
• Welsh: Y Smyrffs (Singular: Smyrff)

Happy and porcine, the bank director takes a dip, memorialised by the self-taught Hungarian photo-reporter Karoly Escher. Nothing in the world can disturb the tranquil scene. Should we envy or despise him? Is he contented or complacent - does he deserve a break? It is 1938. Click.

Presentiments and echoes of war and revolution, images of emancipation and nationalism, of modernity and melancholy hang side by side in Foto: Modernity in Central Europe 1918-45, currently at the Scottish National Gallery of Modern Art in Edinburgh. This is a marvellous show, full of great, terrible and fascinating images. Imri Kinszki, another Hungarian, photographed a bridge in fog, in 1930. Pedestrians walk into emptiness and the unknown, steel and iron disappearing into the gloom. It could be a metaphor, or just another foggy day. Looking back, we know what was to come and add a context all of our own.

This exhibition began its tour in Washington DC last year; Edinburgh is its only European venue. This is surprising. Like the Barbican’s 2006 show In the Face of History, this is an exhibition whose theme is Europe itself, as well as the European history and photographic culture that has depicted it, and had a role in its creation. Our self images invent us.

While the Barbican show attempted the impossible, covering an entire century of European photography, Foto focuses on photography in central Europe between 1918 and 1945. It revisits the Bauhaus, constructivism, dadaism, surrealism, expressionism, documentary and propaganda photography, and portraiture. It also introduces us to many lesser-known artists, and to a radical photographic culture that spread right across central Europe. There were art schools and clubs, movements and artists’ collectives - in Vienna, Berlin and Warsaw, as well as in little out-of-the-way places in Moravia and Poland. This exhibition struggles with conflicting views of modernity, of a world escaping old empires and about to be carved up anew.

The images come crashing in, one after another. Workers give clenched fist salutes, emancipated and androgynous modern women smoke and smile and pose and look back at us, unguarded and unafraid. Women in impeccable folkloric costume dig a railway with hoes and shovels, and a gold miner at the rock face stands in nothing but a loincloth, holding his drill. A montaged, cubistic modern world of skyscrapers jumps with advertising slogans, while shadows walk through the ghetto in Kazimierz in a sodden fall of snow, caught on a hidden camera by Roman Vishniac in 1937.

There are fewer than 200 photographs in this show, and almost all of them count, adding to our sense of cultures in consort and collision. Best of all, the exhibition makes you think, not least about the ways in which avant-garde ideas have become assimilated by mainstream culture (and are sometimes complicit with it). And it makes you think about the nature of modernity itself, and how it persists in the 24-hour onslaught of electronic, digitised imagery that surrounds us.

I was confronted with how little I know about the confused political geography of central Europe in the 20th century. The complications continue to this day. Although the exhibition largely focuses on the 1920s and 30s, it begins with a pair of maps: one describing the dominance of the German and Russian empires, and Austria-Hungary in 1890; the second revisiting the situation in 1930, where the three major powers had been replaced by Germany, Poland, Czechoslovakia, Austria and Hungary. Europe is a palimpsest of overwritten borders and states, countries whose names are constantly changing.

What one comes away with, as well as many indelible images, is a sense of paradox and extreme contrast. In 1933, the Czech photographer Eugen Wiskovsky was busy fetishising the sexy, sleek and shiny look of a ceramic industrial insulator, in a sort of Bauhaus hymn to technological progress and formal elegance, and to the taming of natural forces. In Max Burchartz’s Worker Before Machines, meanwhile, a semi-seated man toils at his machine, as though he were exercising on a fiendish contraption in a gym; this bizarre industrial interior appears both futuristic and weirdly antediluvian.

At the same time, Rudolf Koppitz was taking romantic shots of a Tyrolean farmer struggling up to the summer pasture with a load of hay on his back, while Francis Haar was capturing the peasantry, in their picturesque and timeless costumes, on the Hungarian plain. These nationalistic images of mythical homelands coexist with near-abstract celebrations of the autobahn and the electricity pylon. Past and present are in constant collision.

So we find surrealist erotica alongside images of horrific working conditions, liberated women next to a National Socialist magazine covergirl in a sporty Alpine pose - Ski Heil! reads the coverline. There is a suspicion that the world being hurtled towards might lead to Armageddon. In his 1933 photomontage 20th-Century Idyll No 7, from a series called A Robot Is Born, Polish artist Janusz Brzeski foresaw a devastated America, with New York covered in clouds of gas, from which a gas-masked horseman rides away, presumably into the sunset. The dynamic medium of the photograph, as extolled by László Moholy-Nagy in the 1920s, might be part of the problem of the modern world: in a sense, Brzeski turns photography against itself, using found printed source material in his images.

But there is also a wonderful optimism about the future, a kind of frankness and humour, and inevitably a kind of innocence - though not, of course, one that could withstand the second world war, the destruction and reconstruction of Europe. Modernity went into hiding, and all those camera clubs, those amateur photographers and their idealistic experiments, disappeared. We are still dealing with their legacy. How various this show is, how fresh and faded.

In Peter Demetz’s introduction to the catalogue that accompanies this show, the Prague-born writer takes us on a whirlwind tour of central Europe - Vienna, Berlin, Prague, Warsaw, Bucharest - throwing out facts centrifugally. At the end, he tells us how American movies were regularly shown in Berlin, right up until Pearl Harbor; second world war German air-crews listened to British and American swing music in their cockpits.

It sounds like the world depicted in Gravity’s Rainbow, by Thomas Pynchon, in which borders of time and space - as well as culture - are constantly crossed and recrossed. This exhibition reminds us that this is exactly what the past was like - strange and conflicted. Our culture seems so homogeneous by comparison. Even the word “experiment” feels hollow now. What a killer show.

· Foto: Modernity in Central Europe 1918-1945 is at the Scottish National Gallery of Modern Art, Edinburgh, until August 31 nationalgalleries.org

(http://arts.guardian.co.uk/art/photography/story/0,,2289894,00.html#article_continue)

Rafael Nadal became a true giant of tennis last night as he won the Wimbledon singles title for the first time with an extraordinary five-set victory over Roger Federer that lasted nearly five hours.

The Spaniard defeated the five-time champion 6-4, 6-4, 6-7, 6-7, 9-7 in the longest singles final in the history of the All England Club. The match finished at 9.15pm after rain interruptions and no one in the grounds could remember seeing anything like it.

Nadal became only the third man in history and the first since Bjorn Borg in 1980 to win the French Open and Wimbledon in succession and ended Federer’s chances of beating Borg’s record of five successive Wimbledon singles titles.

Federer, who called it his hardest loss by far, had hoped that Nadal might succumb to the pressure. “I thought maybe he was feeling it a lot, for the first time in his life,” the 26-year-old said, as he sought to be the first player since 1927 to win this grand title from two sets to love down. But his opponent would not hear of it.

Nadal had won the French Open for the fourth consecutive time a month earlier, having trounced Federer for the loss of only four games, and we wondered if he had done permanent damage to the world No 1’s psyche. When the 22-year-old strode to the first two sets, it appeared as if he might make humiliatingly short work of a player acknowledged as the finest grass-court practician in the world. But this is Federer’s fiefdom. Chasing his thirteenth grand-slam title, having not lost in 65 matches on the surface, he would not go down without a fight.

What a comeback he produced. When the rains came for the second time at 2-2 and deuce in the final set, we wondered whether we might have a resumption on Monday. That would have been a crushing blow after such a Sunday. It was, thankfully, not to be.

Nadal never gave up believing that he would become the first Spaniard since Manuel Santana, proudly perched in the front row of the Royal Box, to win this title. “I had won the first two sets, I was playing really well, I had all the time a positive attitude,” Nadal said. “It is amazing what has happened today, difficult to describe. When I was a kid I would dream about winning Wimbledon one day and now it has happened.

“It is the most emotional of my victories, but I don’t want to compare what is more important. In the final set I was just trying to focus on my serve. I had played two awful points in the fourth-set tie-break, two really awful points, but this is the Wimbledon final. You do not stop trying to win.”

Nadal has no time to luxuriate in history-making. He is on a plane at 9 this morning to play in the Mercedes Cup clay-court tournament in Stuttgart. The new champion is relentless.

(http://www.timesonline.co.uk/tol/sport/tennis/article4282737.ece?token=1368601919)

Augusto Boal (photo 2) (born April 16, 1931 in Rio de Janeiro, Brazil) is an innovative and influential theatrical director, writer and politician. He is the founder of Theatre of the Oppressed (T.O.), a political theatrical form originally used in radical popular education movements, along with Paulo Freire’s Pedagogy of the Oppressed. Boal was elected as a Vereador (Brazilian equivalent of city council seat in US politics) in Rio de Janeiro in 1992 but he was not re-elected in 1996. Boal was recently nominated for the 2008 Nobel Peace Prize.

Esta semana he tenido la oportunidad de conocerlo en la presentacion de la 13 edicion del Festival de Teatro Joven de Pula. A sus 77 anos, Boal sigue luchando para hacer del mundo un lugar mejor. Todo a traves del teatro. Con resignacion decia que no podemos cambiar el mundo pero que siempre podemos intentar mejorarlo, luchar para acortar la distancia piramidal de la riqueza, del poder: que cada vez la la gran base de la poblacion se acerque a la cuspide, recortar la diferencia entre ricos y pobres.

Boal hablaba de la importancia de educar en la inidividualidad, no enfocada en el egosimo sino en saber defenderse de la manipulacion, resaltando la riqueza de la singularidad de cada uno ,formar un nosotros que no absova al yo.

Dentro de este festival, este el grupo Jana Sanskriti (http://www.janasanskriti.org/) (foto1)

21 years ago, a group of dedicated people got together to try an experiment in utilising theatre as a method of social change. It was a propaganda theatre group in the beginning where actors were all from the distant remote villages. The idea of democratising theatre form took shape in their minds after their encounter with the work of Augusto Boal, the theatre theorist and practitioner who may be said to be the inventor of ‘Theatre of the Oppressed’. Being on the same boat as Paulo Friere (of ‘Pedagogy of the Oppressed’ fame), Boal has started off this whole theatre movement in various parts of the world, which envisages theatre as a powerful tool of change.

This method builds up a cultural movement that is based on humanism, which equips people to fight against the oppression faced by them in their daily lives. This movement strives to remove the culture of monologue (home between man and wife, father and children, at school between teacher and students; at work between employer and workers…) and establish a habit of dialogue. This is the first step towards democracy which empowers us. Jana Sanskriti came into being with a deep commitment towards building up of such a cultural movement.

Firm belief in the strength and efficacy of theatre as a tool not only of communication but also of empowerment has resulted in the formation of as many as 30 theatre teams active under the banner of Jana Sanskriti today. Each of these teams comprises men and women from agricultural worker families. Putting up theatre performances regularly in and around their villages on pressing current issues is the main agenda of these 30 teams.

Jana Sanskriti, through its interventions, seeks to stop the oppressed people from thinking that they are inferior, weak and incapable of analytical thought. They can become aware of their ability to plan constructive action and provide dynamic leadership in the process of development of human society, if the culture of monologue is broken and dialogue established at various levels in society. Jana Sanskriti believes that dialogue opens up space for rational thinking, prevents a human being from acting blindly and thereby empowers them.

Swami Vivekananda has referred to the incident of how a falling apple led Isaac Newton to discover the law of gravity. The falling apple, Swamiji said, was a proposal, which made Newton think. In the same way, Jana Sanskriti wants to set forth a proposal, so that people (the blind followers of the political parties and NGOS) in our villages are forced to think, and then act. This approach is very different, in fact diametrically opposite to that of political parties and NGOs, which encourages people to follow rather than think intellectually, rationally towards collective and individual development.

Augusto Boal has said “In all human being , all sensations arouse emotion. Equally the human being is a rational creature, it knows things it is capable of thinking, of understanding and of making mistakes.”

Primero, ellos nos mostraron como es la vida de una mujer en la India, antes y despues de casarse. A traves del baile, el teatro ( no es necesario conocer su dialecto para comprender la historia) presenciamos las desigualdades con las que vive la mujer, su sumision primero a su padre y luego al marido que le han adjudicado.

Luego, nos preguntan si estamos de acuerdo con esa cotidianeidad. Nos inivitan a salir al escenario, a colocarnos en el lugar de alguno de los personajes y proponer alguna alternativa.

Una vez mas, hablar es mas facil que actuar. Es facil proponer soluciones desde la vision occidental pero no lo es tanto aplicarlas a la realidad india.

El Teatro de los Oprimidos es una oportunidad para caminar con los zapatos del otro, para intercambiar ideas, para reflexionar…

Con la independencia de Kosovo, cuyo Parlamento ha sido convocado para declarar unilateralmente la independencia de Serbia, concluye un episodio más del proceso de desintegración de la antigua Yugoslavia, tras la secesión de Eslovenia, Croacia, Bosnia, Macedonia y Montenegro.

Antes de la unión de los diversos pueblos balcánicos tras la Primera Guerra Mundial, la región sufrió numerosas guerras bajo la dirección de las grandes potencias europeas, como la acaecida entre 1912 y 1913.

• 1918: tras la Primera Guerra Mundial nace el Reino de los Serbios, Croatas y Eslovenos, con el serbio Petar I Karadjordjevic como rey.
• 1929: el Reino pasa a llamarse Yugoslavia.
• 1945: abolida la monarquía por el régimen comunista de Josip Broz ‘Tito’, y sustituida por el Estado federativo de seis repúblicas (Eslovenia, Croacia, Bosnia, Serbia, Montenegro y Macedonia).
• 1980: muere Tito, presidente vitalicio de Yugoslavia. Una presidencia colectiva de ocho miembros asume el poder.
• 1990: disuelto el Gobierno y el Parlamento autonómico de Kosovo, abolida la autonomía.
• Marzo de 1991: Los serbios de la región croata de la Krajina declaran su separación de Croacia tras tensiones en esa república.-Junio y julio: Eslovenia y Croacia declaran su independencia. El Ejército federal yugoslavo se retira de Eslovenia tras una corta guerra. Comienzan los enfrentamientos en Croacia.
• Enero de 1992: Macedonia declara su independencia.-Febrero/marzo/abril: El 63% de los bosnios vota a favor de la secesión y se declara la independencia de Bosnia. Los serbios proclaman la ‘República serbia de Bosnia’. Empieza la guerra en Bosnia. En Belgrado proclaman la República Federal de Yugoslava que engloba a Montenegro y Serbia.
• Julio de 1995: tropas serbobosnias toman Srebrenica, unos 8.000 varones musulmanes son asesinados en ese enclave oriental declarado por las Naciones Unidas como ‘zona protegida’.-Agosto: Croacia recupera la Krajina en la “Operación Tormenta”. Se produce un éxodo de 200.000 serbios. La OTAN comienza a bombardear objetivos serbios en Bosnia.

  -Noviembre: Serbia, Croacia y Bosnia firman el acuerdo de Dayton (EEUU) para poner fin a la guerra bosnia.

  -Diciembre: la OTAN despliega a 60.000 soldados en Bosnia y 5.000 cascos azules de la ONU lo hacen en Eslavonia (Croacia).

• 1996: en Kosovo surge la organización separatista armada albano-kosovar denominada Ejército de Liberación de Kosovo (UCK).
• Febrero de 1998: comienza el conflicto entre el UCK y las fuerzas de seguridad de Serbia.-Octubre: el presidente serbio Slobodan Milosevic firma un acuerdo de pacificación de Kosovo tras la mediación de EEUU. La OTAN suspende sus amenazas de bombardear Yugoslavia.
• Marzo de 1999: tras rechazar Milosevic el despliegue de tropas aliadas en Kosovo, la OTAN lanza ataques aéreos contra Serbia.-Mayo: el Tribunal Penal Internacional para la antigua Yugoslavia acusa a Milosevic de crímenes de guerra en Kosovo.

  -Junio: con la resolución 1.244 del Consejo de Seguridad de la ONU Serbia se retira de Kosovo y se establece una administración interina de la ONU hasta una decisión final sobre el estatus.

• 2000: Milosevic pierde las elecciones presidenciales ante el candidato reformista Vojislav Kostunica. La Corte Constitucional ordena repetir la primera vuelta de los comicios. Se declara una huelga general, una multitud asalta el Parlamento y las fuerzas de seguridad se suman a los manifestantes. Milosevic dimite.
• 2001: Milosevic es detenido acusado de corrupción y abuso de poder, y es entregado al TPIY, acusado de crímenes de guerra.
• 2003: Serbia y Montenegro forman una unión estatal de pocas competencias comunes, con la intención de aplacar las exigencias independentistas montenegrinas.
• 2006: Milosevic muere en La Haya, en detención. Montenegro vota en un referéndum a favor de su separación de Serbia y en junio declara la independencia.
• 2007: La ONU y el Grupo de Contacto para Kosovo reconocen que las negociaciones sobre el estatus de Kosovo no tuvieron éxito. El ex guerrillero Hashim Thaçi gana las elecciones legislativas y es proclamado primer ministro de Kosovo.

(El Mundo)

 Jules Verne, the father of science fiction, in search of unique places for his novels, chose Rovinj as a setting for some chapters of his novel ‘Mathias Sandorf’. Just as he was, many a writer has through centuries equallv been enchanted by Rovinj and its beauties. As a matter of fact, many records written in the past centuries could be read as little guide books.

Ciao prijatelji, Kako si? Jo dobro. Pula je lijepa grada i ja ucim hrvastki i ja radit cu in Radio Giardini (in hrvatski!!)

Vidimo se. Pusa.