Glavašević

SINIŠA GLAVAŠEVIĆ (1960-1991)

Novinar, publicist i prozaik Siniša Glavašević rođen je u Vukovaru 4. studenoga 1960. U rodnom je gradu završio osnovnu i srednju školu, a u Sarajevu studij komparativne književnosti i bibliotekarstva. Bio je urednik Hrvatskoga radija Vukovar i ratni izvjestitelj. Po zauzeću Vukovara od agresorske JNA i četnika, odveden je 19.XI.1991. iz vukovarske bolnice i od tada mu se izgubio trag.

 

Ekshumiran je iz masovne grobnice Ovčara i identificiran, tako da se pretpostavlja da je ubijen istoga dana kada je odveden, 19. studenoga 1991. Matica hrvatska u Zagrebu posmrtno mu je 1992. izdala zbirku “Priče iz Vukovara”.

Priča o gradu je vjerojatno najpoznatiji esej iz pera Siniše Glavaševića. Preveo s hrvatskog na engleski g. Marko Puljić, Saint Louis, SAD.

Priča o gradu

Odustajem od svih traženja pravde, istine, odustajem od pokušaja da ideale podredim vlastitom životu, odustajem od svega što sam još jučer smatrao nužnim za nekakav dobar početak, ili dobar kraj. Vjerojatno bih odustao i od sebe sama, ali ne mogu. Jer, tko će ostati ako se svi odreknemo sebe i pobjegnemo u svoj strah? Kome ostaviti grad? Tko će mi ga čuvati dok mene ne bude, dok se budem tražio po smetlištima ljudskih duša, dok budem onako sam bez sebe glavinjao, ranjiv i umoran, u vrućici, dok moje oči budu rasle pred osobnim porazom?Tko će čuvati moj grad, moje prijatelje, tko ce Vukovar iznijeti iz mraka? Nema leđa jačih od mojih i vaših, i zato, ako vam nije teško, ako je u vama ostalo još mladenačkog šaputanja, pridružite se. Netko je dirao moje parkove, klupe na kojima su još urezana vaša imena, sjenu u kojoj ste istodobno i dali, i primili prvi poljubac – netko je jednostavno sve ukrao jer, kako objasniti da ni Sjene nema? Nema izloga u kojem ste se divili vlastitim radostima, nema kina u kojem ste gledali najtužniji film, vaša je prošlost jednostavno razorena i sada nemate ništa. Morate iznova graditi. Prvo, svoju prošlost, tražiti svoje korijenje, zatim, svoju sadašnjost, a onda, ako vam ostane snage, uložite je u budućnost. I nemojte biti sami u budućnosti. A grad, za nj ne brinite, on je sve vrijeme bio u vama. Samo skriven. Da ga krvnik ne nađe. Grad – to ste vi.

A Story about the City

I refrain from searching for all justice, truth, I refrain from attempts to let ideals arrange my personal life, I refrain from everything that until yesterday I considered essential for some good beginning or good end. I would possibly refrain from myself, but I cannot. Because who will remain if we renounce ourselves and flee into our fears. Who will inherit the city? Who will watch it for me, when I am gone, while I am searching in the trash heaps of the human spirit, while I am as it is alone, staggering without myself, wounded, tired, feverish, while my eyes begin to wax before my personal defeat.

Who will watch my city, my friends, who will carry Vukovar from the dark? There aren’t shoulders stronger than mine or yours, and therefore if it isn’t too much for you, if there still remains in you a youthful whisper, join us. Somebody has touched my parks, the benches that still have your names carved into them, that shadow that you gave it at the same moment, and received your first kiss – somebody has simply stolen it all, because how do you explain that not even a Shadow remains? There isn’t that store window in which you admired your personal joys, there isn’t that movie theater in which you saw the saddest film, your past has been simply decimated and you have nothing. You must build anew. First your roots, your past, and then your present, and then if you still have the strength, invest in the future. Do not be alone in the future. Do not worry about the city, it has been with you all this time. Only hidden. So that the murderer cannot find it. The city – it is you.

 

 

 

Priča o ljubavi

Vrijeme u kojem živimo toliko je nezahvalno da čovjek poželi da se nije ni rodio, ili bolje da se rodi u neko drugo vrijeme i drugi put, i to samo zato što u ovom vremenu nema dovoljno ljubavi za sve. Uzalud velike kuće, skupi automobili, zimovanje na visokim Tatrama, Garmisch-Partenkirchenima, uzalud skupi parfemi, brifinzi, sve je to izmaglica pravog života. Čovjek se opušta u narkotičnim prijevarama, vjesto izmišljenim tajnim životnim putovima i, kada jednom bude kasno, kada zatvorenih očiju pred vlastitim promašajima dočeka zrelu životnu dob, odjednom shvati da je prekasno za novi početak. Kraj je tu, možda već proviruje iza prvog ugla. Nema načina da ukradete godine, ukradete sreću -ako ljubavi nema. Može vam se pričiniti sunce radost, možete pomisliti da je vaš uspjeh potpun u ordenju, u sjenama velikih, ali gledao sam mnoge koji i praznih džepova uspravno hodaju ovim gradom. Njihova radost u neimanju mnogo je veća. Jer oni imaju grad. Imaju prijatelje. Imaju dušu. Nisu mali novac za Zagreb, Beč, Prag. Njihov je novac ostao u čašama, ispijenim s prijateljima, s kojima su poslije čekali svanuća na hrvatskim barikadama. Nekima je to čekanje bilo predugo, pa smo ostali bez njih. Ali mi svi dobro znamo gdje su. Ako nam život omogući da naša ljubav ovlada nama, kao što je njihova ljubav nosila njih, jednom, na kraju puta, možda možemo očekivati da mi umremo sretni.

 

Priča o vremenu

Čovjeku ništa nije tako teško kao čekati vrijeme – svojih pet minuta, jer stalno vam se čini da je to vrijeme došlo evo baš sad i, ako priliku sada ne iskoristite, poslije ćete se kajati cijeli život.

Vrijeme je na visokoj cijeni, ono se plaća, ono se čuva kao dragulj, vremenu se čovjek divi, jer ga vrijeme vremenom satire. I, ako je to istina, onda je vrijeme zapravo gospodar cijelome svijetu. Onome tko nema vremena i za koga vrijeme ne radi, ne piše se dobro. Taj je siromah, tome je odzvonilo. Ne kaže se uzalud sve u svoje vrijeme.

Vrijeme je neumorno. Ono usprkos svojim godinama uvijek korača istim tempom; kao životni usud opominje naše pakosti, pecka sitne ljudske prljavštine, povremeno čak dođe neko čudno, teško vrijeme za sve nas. To se obično dogodi kada se u svijetu nataloži previše zla, pa obična ljudska dobrota bude manja od vijeka, tuga veća od svake radosti, a ljudima ovlada neko ludilo. Tada vrijeme čini svoje. Ono sudi i presudi. A oni koji ostanu kao svjedoci tog vremena, još dugo opominju sve koji dolaze.

Ispočetka je njihov glas jak, a poslije tiši, naposljetku kao da i nije vise važno. A važno je, jer čovjek neprestano pravi istu grešku, ruši ono što je s vremenom nastalo. Vrijeme ima svoju aromu, ono je dio svih nas, naših lijepih i onih drugih, teških trenutaka koje poslije cijeli život pokusavamo zaboraviti, ali nam ne uspijeva. Nitko ne zna što će mu vrijeme donijeti. A ono svakome daje po zasluzi. I možemo se ljutiti koliko nas volja, možemo nalaziti tisuće razloga koji su trebali utjecati na drukčiju našu sudbinu, možemo cijelom svijetu do bola vikati svakojake prostote, vrijeme će opet neumoljivo presuditi u svoju korist.

 


Ugledna španjolska novinarska nagrada Premio Brajnovic a la communication dodijeljena je posthumno, godine 2001., Siniši Glavaševiću, ubijenom 1991. na Ovčari u rodnom Vukovaru zajedno s još nekoliko stotina zarobljenika iz Vukovarske bolnice.

Sinisa Glavasevic

Sinisa Glavasevic was a Croatian journalist, writer and poet, who worked in radio. He graduated in Comparative Literature from the University of Sarajevo and obtained the diploma of librarian. On returning to Vukovar, his native city, he became director of Croatian Radio. During the siege of Vukovar he gave round-the- clock reports on the situation of the civilian population, read children’s stories and gave descriptions of the city as it had been before the siege. He was executed without trial in 1991 by the Yugoslavian National Army Forces and Serbian paramilitary groups.

Periodista croata. Trabajó en la radio como escritor y poeta. Estudió en Sarajevo Literatura Comparada y obtuvo el título de bibliotecario. Cuando regresó a su ciudad natal, Vukovar, fue redactor jefe de la Radio Croata. Durante el asedio de Vukovar informó día y noche sobre la situación de la población civil e incluso desde la emisora leía cuentos a los ninos y describía la ciudad tal y como era antes del asedio. Fue ejecutado extrajudicialmente después de la toma de la ciudad de Vukovar por las fuerzas del Ejército Nacional Yugoslavo y los grupos paramilitares serbios en 1991.

Izvor: Brajnovic Award, School of Communication, University of Navarra, Spain

http://www.croatianhistory.net/etf/sinisa.html

 

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Radovan Karadžić

 

Glasnogovornica Okružnog suda u Beogradu Ivana Ramić izjavila je utorak za beogradsku radio i tv postaju B 92 da prilikom saslušanja uhićeni haaški optuženik Radovan Karadžić nije zanijekao svidentitet kao što je to bilo u slučaju uhićenja Stojana Župljanina.

“Nakon saslušanja istražni sudac Vijeća za ratne zločine donio je rješenje kojim se utvrđuje da su ispunjene zakonske pretpostavke za predaju Radovana Karadžića”, kazala je ona i dodala da “u ovom trenutku teče zakonski rok za ulaganje žalbe”. Zakonom o suradnji s Haaškim sudom propisan je rok od tri dana. U slučaju žalbe o njoj odlučuje izvanraspravno vijeće, i to opet u roku od tri dana, kako je to propisano zakonom, kazala je ona. Rekla je također da ne može precizirati kada bi se Karadžić mogao naći u Den Haagu.

Glasnogovornik Tužiteljstva za ratne zločine Bruno Vekarić u utorak kasno poslije podne je za beogradsku TV “Avala” izjavio da bi Karadžić mogao tijekom vikenda biti prebačen u Den Haag. Karadžićev odvjetnik najavio je podnošenje žalbe u petak.

Radovan Karadžić imao je tajni identitet na ime i prezime Dragan Dabić i radio je u privatnoj ordinaciji u središtu Beograda, objavljeno je na konferenciji za medije danas u Beogradu. Sijedi “čiča” s naočalama bavio se alternativnim metodama liječenja i mirno živio usred glavnog grada Srbije.

Na konferenciji koja je trajala tek pet minuta tužitelj je pokazao fotografiju na kojoj je prerušeni Karadžić.

Za njegov tajni identitet nisu znali ni njegovi poslodavci, niti osobe od kojih je unajmio stan. On se slobodno kretao gradom i pojavljivao na javnim mjestima, rečeno je na konferenciji.

Zbog toga što su još dva optuženika pod istom optužnicom nisu objavljene detaljnije informacije o uhićenome. Karadžić se i dalje brani šutnjom.

Svetozar Vujačić, odvjetnik Radovana Karadžića, i njegov brat Luka Karadžić izjavili su da će izručenje Haagu pokušati odgoditi što je duže moguće. Haaškom sudu bi, inače, Karadžić mogao biti izručen već u četvrtak ili petak, a najkasnije krajem idućeg tjedna. Tamo će se, tvrde, braniti sam.

Krenuo na ljetovanje u Hrvatsku?
Na nekim srbijanskim internetskim portalima danas je objavljena vijest da je u trenutku kad je uhićen, Radovan Karadžić putovao na ljetovanje, i to u Split. Pored sebe je imao, navodno, torbu sa stvarima za ljetovanje, a agentima koji su ga uhitili i sam je navodno rekao da putuje u Split.

One of the world’s most wanted men, the former Bosnian Serb leader Radovan Karadzic, was arrested last night in Serbia after 12 years on the run from charges of genocide and war crimes.

The man indicted for the Srebrenica massacre and the Sarajevo siege, among other war crimes, was arrested by Serbian security officers and taken before a war crimes court in Belgrade, according to a statement from the office of the Serbian president, Boris Tadic.

Karadzic was said to have been under surveillance for weeks after a tip-off from an unnamed foreign intelligence agency, and had been picked up in Belgrade. The prosecutor’s office at The Hague war crimes tribunal said it expected Karadzic to be handed over “in due course”.

Last night he was undergoing formal identification, including DNA testing, and was scheduled to meet investigators. Heavily armed security forces took up position around the court, a precaution against a backlash from ultra-nationalists.

The arrest came on the eve of a European foreign ministers’ meeting about Serbia’s ties with the EU, which has made action against Karadzic and his former military commander, Ratko Mladic, a condition of membership. It also came days after the formation of a pro-western coalition government pledged to pursue EU accession.

The European commission president, José Manuel Barroso, said Karadzic’s arrest “proves the determination of the new Serbian government to achieve full cooperation with the [Hague tribunal]. It is also very important for Serbia’s European aspirations.”

A US official spoke last night of heightened expectation that Mladic, also wanted on genocide charges, would be arrested.

Richard Holbrooke, the American diplomat who helped negotiate an end to the Bosnian war, described Karadzic as the Osama bin Laden of Europe, and “a real, true architect of mass murder”.

The prosecutor at the Hague tribunal, Serge Brammertz, issued a statement welcoming the arrest and congratulating the Serb authorities. “This is a very important day for the victims who have waited for this arrest for over a decade. It is also an important day for international justice because it clearly demonstrates that nobody is beyond the reach of the law and that sooner or later all fugitives will be brought to justice.”

In Sarajevo, there were celebrations in the street when the news broke, and cars drove through the centre of the town honking their horns.

Karadzic’s wife, Ljiljana, told the Associated Press from her home in Karadzic’s former stronghold, Pale, that her daughter Sonja had called her before midnight. “As the phone rang, I knew something was wrong,” she said. “I’m shocked. Confused. At least now we know he is alive.”

Karadzic faces charges of genocide and crimes against humanity inflicted on Bosnian Muslim, Bosnian Croat and other non-Serb civilians in Bosnia and Herzegovina during the 1992-95 war, when he was president of the breakaway Republika Srpska.

The charge sheet includes the murder of nearly 8,000 Bosnian Muslim men and boys in Srebrenica, after the supposedly UN-protected enclave fell to Bosnian Serb forces. The former psychiatrist and aspiring poet is also charged with running death camps for non-Serbs, and the shelling and sniping on civilians in the Bosnian capital, Sarajevo, in a siege that lasted more than three years.

After the war and deployment of Nato troops, Karadzic and Mladic disappeared from public view. But this month a democratically elected, pro-western Serbian government came to power, a 10-party coalition run by former finance minister Mirko Cvetkovic and aligned with the reformist Tadic. Both came to office with a mandate for reform and closer ties with the EU.

It was suggested last night that Karadzic had been tracked down by a Serbian “action team” devoted to hunting down war crimes suspects

Srebenica: The Lost City

Four years after the Dayton Accords, Srebrenica is still in despair. Its Serbian residents don’t want to stay, and its former Muslim citizens don’t want to return. From the Institute for War & Peace Reporting.

by Zoran Tmusic in Srebrenica
of The Institute for War and Peace Reporting
July 17, 1999

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More Kosovo Coverage

“Don’t touch him,” reads the graffiti over a faded poster of war crimes indictee Radovan Karadzic, pasted on a building in the center of Srebrenica in eastern Bosnia.

The scribbled warning to the NATO-led force that still patrols the town is about two years old. In those days, the 15,000 Bosnian Serbs who lived there furiously opposed plans to allow the return of Muslims ejected from Srebrenica in one notoriously brutal operation exactly four years ago.

After two years, they seem to have come to reluctant, if indifferent, terms with the idea. The mayor is a Bosniak (Muslim) and dozens more Bosniaks come to the town each day, on brief visits. The Serbs’ old loyalties to Karadzic and his fellow war crimes suspect Ratko Mladic have disappeared.

“Karadzic and Mladic should not be tried in The Hague,” says Milan S. “We, the Serbs, should try them. The Serbian people were the biggest victims of the policy of those two.” Milan is a Serb who moved out of Sarajevo after the Dayton Accord ended the fighting in 1995.

He moved into Srebrenica, which he wryly describes as “the darkest corner of the bloody Balkan inn.” Four years ago, the Bosnian Serb forces entered the supposed U.N. guaranteed “safe area” and, under the eyes of their supposed protectors, forcibly ejected the entire Muslim population. An estimated 8,000 were held back and killed or just “disappeared.”

Even though they were a majority in the town before the war, there are no permanent Muslim residents in Srebrenica. It gets its Muslim mayor because former residents were able to vote in local elections two years ago from wherever they had found refuge. However, it took Organization for Security and Cooperation in Europe (OSCE) officials until March 4 this year to force both sides to sign an agreement allowing the election results to be implemented.

According to the agreement, the post of the mayor went to a Muslim, Nesib Mandzic, while the presidency of the city council went to a Serb, Petar Janjic. Other offices were distributed according to a pre-arranged “national key.”

Special rules apply to votes taken in the city council assembly, where the Bosnian Muslims and Serbs hold 24 and 18 seats respectively. No motion can be passed without the endorsement of at least one third of the city deputies from both sides.

“We have already had two sessions of the municipal assembly,” says Council Vice President Dragan Jeftic, who commanded Bosnian Serb special forces in Sarajevo during the war. “We hold the sessions of the town’s government once a week and there are no major disagreements. I did not have any conflicts with Mayor Mandzic. We often drink coffee together, and we talk about ordinary things.

“We don’t look at each other as enemies, but as people with good intentions.”

On paper, it would seem that the way is clear for Muslims to return and for at least the semblance of their pre-war co-existence to be recreated. But the refugees do not want to return home and the Serbs do not want to stay.

Most of the Serbs who came to the town in the winter months after Dayton was signed find it hard to believe anyone would want to live there; many talk of their life in the town as a kind of punishment meted out from on high. All hope that one day, if they are lucky, they will leave the place for good and go to some foreign country.

A young unemployed Serb says: “Muslims are talking loudly about the return to Srebrenica, even though I think they don’t wish that. Only crazy people could leave Sarajevo and return to this wasteland. They are coming here in order to find buyers for their houses, or to exchange them for Serb houses in Sarajevo.”

A waiter in the town’s Hotel Domovija takes the same line. About a dozen Bosnian Muslims working for the local authority stay in his hotel during the week. “I am sometimes accused by local thugs of defending the Muslims,” he told the Institute for War & Peace Reporting.

“I am not defending them, but I do say: I decently fought them for four years and do not want to fight them any more. I am defending my job, which enables me to support my family. It’s been enough of war! To whom is Srebrenica, such as it is today, any good?”

Indeed, Srebrenica as it is today truly is good for no one. The wasteland left by war has been hardly touched by the country’s reconstruction effort. The destruction ranged far and wide across every square meter of the town.

The Serb “liberators” even managed to blow up the town’s House of Culture while mining the mosque next door. And the Potocari base, where the Dutch UN troops were based during the massacre, is a deserted tangle of scrap iron and weeds.

“This is the end of the world,” says Svetozar Antic, another unwilling resident. “This town should be surrounded with barbed wire or a high wall, and turned into a museum of human stupidity. Or it should be rented out to some film company from Hollywood, specializing in horror productions … It is summer, and this hole hasn’t even got a river, a pool, drinking water, or even a meadow where one could rest.”

Ironically, Srebrenica was one of the most developed municipalities in Eastern Bosnia before the war. It had factories, silver and coal mines, and a large number of private transport companies.

The factories were reduced to piles of iron during the war and the trucks either stolen or shipped to Serbia. The war-damaged water mains are still unrepaired, forcing locals to get their water from wells. Only one in 10 members of the workforce has a paid job, and they must subsist on average monthly salaries of no more than $100.

Council Vice President Jeftic seems to be the only person willing to express optimism. He says the deal on the council has cleared the way for three major infrastructure reconstruction projects funded by foreign aid. “We have recently been visited by the deputy foreign secretary of Great Britain, Tony Lloyd, who promised that the British government would help with the reconstruction of Srebrenica,” he says.

The international community may have special cause to help the town. In these four years, it has not been able to free itself of charges that it cruelly failed to keep Srebrenica, the “U.N. safe zone,” as safe as its name implied.

That apparent sense of guilt is encouraging the OSCE and the Office of the High Representative, which is leading the West’s continuing work in Bosnia, to pay special attention to the town and to push harder than usual to put a multi-ethnic local authority in place.

But if the aim is to use the new town assembly as a first step to bring Srebrenica back to the world of the living, their efforts are viewed by both Serbs and Bosnian Muslims without enthusiasm. The most optimistic spin that can be put on the situation is that the local Serbs are too apathetic to bother opposing the Office of the High Representative’s plans for the town.

Jeftic remains hopeful but tempers that hope with realism. “We had a war,” he says. “We were on opposite sides and each fought for their own goal. I am afraid that both they and we have lost.

“But I think that we have a chance to redeem what has been lost.” 

Toše Proeski

http://tose.bloger.hr/

http://makedonija.blogger.ba/

Štrumpfovi

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.

Happy birthday, Smurfs!

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)

Fresh and faded

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)