Thesis (M.S.)--Naval Postgraduate School, 2002. / Thesis advisor(s): Cary A. Simon, Raymond E. Franck. "AD-A405 965." Includes bibliographical references (p. 117-124). Also available online.

Ο σκοπός της παρούσας εργασίας είναι να εντοπίσει τις κύριες αιτίες της αύξησης των Άμεσων ξένων επενδύσεων στις χώρες Ελλάδα και Βουλγαρία κατά τη διάρκεια της χρονικής περιόδου 1990-2009. Υπάρχουν δύο κατηγορίες επεξηγηματικών παραγόντων. Η πρώτη αναφέρεται στη σχέση μεταξύ των μισθών και την παραγωγικότητα της εργασίας. Το εθνικό κεφάλαιο μιας αναπτυγμένης χώρας θα επενδυθεί κατά προτίμηση σε μία άλλη χώρα με μικρότερους μισθούς, εάν οι διαφορές στο εθνικό μισθολόγιο δεν υποσκελίζονται από τις διαφορές στην παραγωγικότητα της εργασίας. Η δεύτερη κατηγορία των επεξηγηματικών παραγόντων συσχετίζει τις εξαγωγές εμπορευμάτων με τις εξαγωγές κεφαλαίου για άμεσες επενδύσεις. Οι μηχανισμοί του προστατευτισμού και οι μεταβολές των συναλλαγματικών ισοτιμιών οδηγούν στην απώλεια των πρόσθετων κερδών τα οποία θα μπορούσε να πραγματοποιήσει το πιο παραγωγικό εθνικό κεφάλαιο μέσω των εξαγωγών εμπορευμάτων. Η άμεση επένδυση είναι επομένως μία κίνηση του πιο παραγωγικού εθνικού κεφαλαίου για τη διατήρηση και την αναπαραγωγή αυτών των πρόσθετων κερδών. Στις περιπτώσεις των ανωτέρω κρατών βρίσκουμε τελικά ότι η σχέση μεταξύ των μισθών και της παραγωγικότητας της εργασίας, όπως επίσης και οι μεταβολές των συναλλαγματικών ισοτιμιών μπορούν να εξηγήσουν τη συμπεριφορά των ξένων επενδυτών κεφαλαίου. Σε αντίθεση, ο παράγοντας του προστατευτισμού είναι μάλλον ανενεργός κατά τη διάρκεια της υπό εξέταση περιόδου και δεν προσφέρει κάποια εξήγηση για τις ροές των Άμεσων ξένων επενδύσεων σε Ελλάδα και Βουλγαρία. Σημαντικό ρόλο όμως παίζουν οι επενδύσεις γέφυρας και για τις δυο αυτές χώρες διότι γειτνιάζουν με μεγάλες αγορές. Οι πολυεθνικές δημιουργούν άμεσες ξένες επενδύσεις αξιοποιώντας το χαμηλό εργατικό κόστος σε χώρες όπως η Βουλγαρία για να παράγουν προϊόντα σε αυτήν με σκοπό την εξαγωγή στη διεθνή αγορά ή σε κοντινές αγορές. / --

This thesis investigates the diverse ways in which social agents construct the relationship between past, present and future through a study of historical consciousness and its role in the negotiation of identity and shifting power relations in the border region of Southwest Serbia. The focus of the research falls on ethnic relations between Serbs and Bosniaks, who predominantly inhabit the area, and the boundaries that they imagine surround the world they live in. The goal has been to trace the life of these ethnic boundaries, and with it the relationships between those who imagine them by following their transformations in history, as well as to inquire into elements of social patterns that may be discernable within a contextualized and historicized analysis of the region. In order to achieve this, I have analysed the diverse pasts and futures that coalesce in the many 'time spaces' that Southwest Serbia's social actors inhabit in any present moment and from which they (re)construct these boundaries and their identities. The research has been situated within the wider anthropological discussion about the relation of culture (memory) and history and draws on insights made by relevant studies and ethnographies conducted on the territory of the former Yugoslavia. The data presented demonstrates that ethnicity and nationality are not fully crystalized as concepts in Southwest Serbia, their contents are imagined in inconsistent ways in and between social groups, while ethno-national identities and histories are not on the whole felt to be crucial to one's personal sense of self, but are perceived and put to use as malleable political resources. As a result, the most dominant allegiance in Southwest Serbia is to one's family, the only group whose 'essence' escapes political malleability and whose members share a common cross-temporal vision.

This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail. First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone. / Arts, Faculty of / Art History, Visual Art and Theory, Department of / Graduate

This Ph.D. thesis deals with the musical phenomenon Balkan music in Prague. The so- called Balkan music (in the sense of Shelemay's 2006 soundscape) is considered to be the result of social negotiating (counterpoint) between the agents, i.e., the Czech musicians and audience, and also those (musicians and audience) who originally come from the Balkan countries. Using the tools of ethnographic research, the thesis explores the nature of this relationship. Specifically, I focus on the very creation of the concept Balkan music in the Czech scene and the role the Balkan migration plays in its formation. It turns out that the very imagination of the 'Balkans' plays a key role in defining the phenomenon, and the form of music itself is the result of the imaginations of (an imaginary) milieu (i.e., stereotypes) that is perceived as culturally distant (Todorova 2009).

Negotiations between the EU and the candidate countries in the Western Balkans have been dragging on for almost two decades. Until an official decision has been made on who can join the EU and when, actors at different levels have been working together within various programmes with the aim of advancing content-related harmonisation and fulfilling requirements for accession. In one of these programmes, Interreg ADRION, transnational cooperation plays an important supporting role for the possibility of Western Balkan countries to learn the practices and rules within EU projects. This thesis deals with the experiences of the project participants within this programme. Furthermore, the experiences are examined in terms of possible learning effects as well as the potential impact of Europeanization within the institutions and organisations of the programme members.

The theme of the work is very central and is often addressed during debates, in the media and in general in society. Second-generation immigrants may find it difficult to understand the conflicts that exist around fitting into a society and shaping themselves according to social reality. Therefore, the aim of this study is to highlight, on the basis of second-generation immigrants with roots in the Balkans, the concept of identity that is formed at the intersection of the values of the majority society and the cultural background of immigrant parents.  This study consists of primary data through qualitative, semi-structured interviews. Interview technology is based on predetermined questions based on my chosen themes. The chosen theoretical perspectives include: Symbolic Interactionism and the impact of ethnicity in social interaction. The conclusions of this study are that second-generation immigrants are being squeezed with their cultural affiliation because they cannot be fully accepted, either in Sweden or in their parents home country. Furthermore, second-generation immigrants are formed on the basis of both their parents cultural background and the majority society.

Min uppsats handlar om Östeuropeisk folkmusik utifrån ett musikhistoriskt perspektiv och hur den utvecklades ur en kulturell aspekt/syn samt hur Dušan Bogdanović komposition Six Balkan Miniatures inspirerades av regionens rika historia. Syftet med arbetet är att få en klarare bild och djupare förståelse för musiken både musikhistoriskt och interpretationsmässigt samt hitta en koppling mellan miniatyrerna och olika traditionella Östeuropeiska danser. Böcker om österländsk historia, artiklar för de olika danserna samt olika inspelningar användes för att genomföra arbetet. Detta resulterade i en insikt om att miniatyrerna är mycket nära besläktade med många traditionella danser. Slutligen diskuterar jag mina tankar kring mina slutsatser och hur min frågeställning hade förändrats under arbetet. / <p>Dušan Bogdanović - Six Balkan Miniatures</p><p>Roland Dyens - Valse en Skaï</p><p>Manuel M. Ponce - Sonata Romántica</p><p>Eduardo Martin - Mirándote</p>

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This Ph.D. thesis deals with the musical phenomenon Balkan music in Prague. The so- called Balkan music (in the sense of Shelemay's 2006 soundscape) is considered to be the result of social negotiating (counterpoint) between the agents, i.e., the Czech musicians and audience, and also those (musicians and audience) who originally come from the Balkan countries. Using the tools of ethnographic research, the thesis explores the nature of this relationship. Specifically, I focus on the very creation of the concept Balkan music in the Czech scene and the role the Balkan migration plays in its formation. It turns out that the very imagination of the 'Balkans' plays a key role in defining the phenomenon, and the form of music itself is the result of the imaginations of (an imaginary) milieu (i.e., stereotypes) that is perceived as culturally distant (Todorova 2009).