Trends in Migrations of Refugees in Serbia

This project aimed to establish a comprehensive long-term projection of refugee migration trends in Serbia which would allow the different organisations engaged in caring for refugees to plan their work more effectively. Mr. Cvetkovic studied first the official records of numbers and origins of refugees and the various definitions used to describe refugees, exiled persons, etc., considering also the indication of nationality, i.e. Serb or Yugoslav, and the future intentions expressed by refugees. He concluded that more than three quarters of the total number of refugees in Serbia wish to remain in Serbia/Federal Republic of Yugoslavia, and only 20% wish to repatriate. He concludes that the situation in relation to the ethnic-national structure of Serbia is extremely complicated, even to the point of chaos. One certainty is that sooner or later a huge majority of the refugees in Serbia today will be granted full citizenship and will then participate in the choice of the political system and the dominant national values and institutions of the country. The experiences of the refugees, as well as of their fellow nationals in Serbia, make it relatively unlikely that they will make rational choices that could produce a balance between civil democracy and national totalitarianism. Insofar as overall political relations within Serbia and its Federation with Montenegro develop along democratic lines, the civic identity of Serbs (as opposed to their national/ethnic status) can be expected to become stronger, and the civil and national to become an integral part of thinking which does not represent a challenge to the democratic state. This would help ensure that the migratory movements of the Serbs and of other national and ethnic groups in the region are motivated by economic rather than political or ethnic reasons.

Changes in the Social Status of Women in Societies in Transition: Russia and Armenia

The project studied the way the post-communist transition has affected the position of women in society and two post-Soviet states, Armenia and Russia, were chosen for a comparative study. Although in many respects the two countries show rather similar tendencies, there are important differences. The most dramatic of these lie in the field of the women's movement and state support, in family lifestyles and public thinking, and in the perception of female roles in society by both women and men in both countries. Whereas in Russia, at least in large cities, it is possible to speak of a movement concerned with equality and women's rights, in Armenia there are few women's organisations and those that exist are most focused on support for children and poor families. In Russia, many post-Soviet changes can be described as a shift towards 'Western' rather than 'Eastern' values, while in Armenia this tendency is much weaker and exists alongside a relapse into traditional attitudes. Iskandarian suggests possible explanations for this, both intrinsic (tradition. motivation) and external (influences, neighbouring countries, involvement in wars, the economic situation, migrations, political regimes). Nevertheless, for both societies it is possible to speak of a growing awareness of women's needs and of the birth of a new tradition in family and public life brought by the post-Soviet winds of change.

Colour Symbolism, Colour Preference in Hungarian Folklore and Folk Architecture"

The Hungarian way of decoration has certain characteristics which are rooted in the deep symbolism of ancient Hungarian mythical thinking. The ancient heritage of the Hungarians' former homeland somewhere in the Urals included eastern elements. During their migrations, the Hungarian tribes met other eastern peoples and their culture of decoration became mixed with elements drawn from these new contacts. These diverse influences mean that the Hungarian way of thinking, building and ornamentation show a certain dualism of Puritanism and rationalism in the creation of space and manufacturing, and rich fantasy in decoration and ornamentation. The Hungarians use coloured ornamentation to emphasise the symbolic importance of details. The colouring system of the built environment shows the same dualism: the main colour of the facades and inner walls is white, while the furniture, textiles, gates and windows, and sometimes the gable and fireplace are richly decorated. In Hungarian symbolism, the house and settlement are a model of the universe, so their different parts also have a transcendent meaning. The traditional meanings of the different colours reflect this transcendence. Each colour has ambivalent meanings: RED - the colour of blood - means violence and love. YELLOW - means sickness, death and ripeness (golden yellow). BLUE - means innocence, eternity (light blue) and old age, death (dark blue). BLACK - can be both ceremonial and mourning. WHILE - can have sacred meaning (bright white), while yellowish white fabric is the most common garb of both men and women in village society. GREEN - the only colour without a dual meaning, symbolises the beginning of life. Until the late 18th and early 19th centuries Hungarian folk art used one or two-coloured decoration (red, black, blue, red-blue or red-black), and from the early 19th century it moved to multi-coloured decoration. Colours are characteristically used in complementary contrast, with bright colours on a plain ground and an avoidance of subtle shadings.