Resocialisation of Disabled Veterans in Former Yugoslavia

The team examined 147 amputated war veterans in the former Yugoslavia between February and December 1998. The official end of the war, substitution of lost body parts and adjustment to the new state of physical disability added extra tasks to these people's efforts to rejoin "normal life". The resocialisation process of amputated persons, i.e. the process of their return into the social environment with the related readjustment and establishment, was observed through its objective and subjective indicators. In addition to obtaining information about socio-demographic characteristics and current working status, the group focused on the psychological dimension, i.e. the individual reality of the disabled persons. In this sense they began with research into the personal, social and professional identity (how they see themselves under these altered circumstances and how they determine their place in the world). To do so they used the model of basic personality supports and observed the resocialisation according to the psychological support systems. They therefore focused on the following topics: body, social identity and belonging, personal identity, working status and engagement, individual responsibility and expectations from the social environment, and orientation towards the future. These were considered with respect to certain significant socio-demographic characteristics of the interviewees. The data were gathered through standardised interviews. Bearing in mind the unpopularity of this subject among experts in the country and the lack of material in specialist literature, the group chose to use descriptive research logic in order to "record" the situation in this field and to establish a framework for future studies which may be methodologically and statistically more complex and thematically more focused.

The Institutional Framework around Successful Art Forms in Communist Czechoslovakia

Mr. Michl posed the question of how the institutional framework that the former communist regime set up around art production contributed to the success of Czech applied arts. In his theoretical review of the question he discussed the reasons for the lack of success of socialist industrial design as opposed to what he terms pre-industrial arts (such as art glass), and also for the current lack of interest into art institutions of the past regime. His findings in the second, historical section of his work were based largely on interviews with artists and other insiders, as an initial attempt to use questionnaires was unsuccessful. His original assumption that the institutional framework was imposed on artists against their will in fact proved mistaken, as it turned out to have been proposed by the artists themselves. The basic blueprint for communist art institutions was the Memorandum document published on behalf of Czechoslovak visual artists in March 1947, i.e. before the communist coup of February 1948. Thus, while the communist state provided a beneficial institutional framework for artists' work, it was the artists themselves who designed this framework. Mr. Michl concludes that the text of the memorandum appealed to the general left-wing and anti-market sentiments of the immediate post-war period and by this and by later working through the administrative channels of the new state, the artists succeeded in gaining all of their demands over the next 15 years. The one exception was artistic freedom, although this they came to enjoy, if only by default and for a short time, during the ideological thaw of the 1960s. Mr. Michl also examined the art-related legislative framework in detail and looked at the main features of key art institutions in the field, such as the Czech Fund for Visual Arts and the 1960s art export enterprise Art Centrum, which opened the doors into foreign markets for artists.