<?xml version="1.0" encoding="UTF-8"?><xml><records><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Francis J Thomson</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">The July and August Volume of the Hilandar Menologium</style></title><secondary-title><style face="normal" font="default" size="100%">Palaeobulgarica / Старобългаристика</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2012</style></year></dates><volume><style face="normal" font="default" size="100%">36</style></volume><pages><style face="normal" font="default" size="100%">29–59</style></pages><language><style face="normal" font="default" size="100%">eng</style></language></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>5</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Lukan, Bla\v z</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">The Janez Jan{\v s}a Project</style></title><secondary-title><style face="normal" font="default" size="100%">NAME: readymade</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2008</style></year></dates><urls><web-urls><url><style face="normal" font="default" size="100%">http://www.aksioma.org/sec/texts/eng_lukan.pdf</style></url></web-urls></urls><publisher><style face="normal" font="default" size="100%">Moderna galerija ; Revolver</style></publisher><pub-location><style face="normal" font="default" size="100%">Ljubljana ; Berlin</style></pub-location><language><style face="normal" font="default" size="100%">eng</style></language></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>17</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Lukan, Bla\v z</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">The Janez Jan{\v s}a Project</style></title><secondary-title><style face="normal" font="default" size="100%">Amfiteater</style></secondary-title></titles><keywords><keyword><style  face="normal" font="default" size="100%">biopolitics</style></keyword><keyword><style  face="normal" font="default" size="100%">identity</style></keyword><keyword><style  face="normal" font="default" size="100%">Janez Jan{\v s}a</style></keyword><keyword><style  face="normal" font="default" size="100%">over-identification</style></keyword><keyword><style  face="normal" font="default" size="100%">renaming</style></keyword><keyword><style  face="normal" font="default" size="100%">self-representation</style></keyword><keyword><style  face="normal" font="default" size="100%">subversive affirmation</style></keyword></keywords><dates><year><style  face="normal" font="default" size="100%">2008</style></year></dates><volume><style face="normal" font="default" size="100%">1</style></volume><pages><style face="normal" font="default" size="100%">71-86</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">&lt;p&gt;The renaming of three Slovene artists as Janez Jan{\v s}a, the prime minister of Slovenia, incites a number of thoughts. Although this was an intimate act not promoted in public, it is a fact that the renaming was done by three (conceptual) artists. With this act they have produced a series that points not so much to the name taken or the deed itself, but, rather, to its own meaning and effect. This series leads to the disappearance or emptying of the subject, to desubjectivisation; with its stringing into infinity, the series creates a sequence of empty signifiers, which then can be filled arbitrarily with new content. At issue here is not the disappearance of Emil Hrvatin, {\v Z}iga Kari{\v z} and Davide Grassi, as the artists were named before, but the disappearance of Janez Jan{\v s}a as the most renowned holder of the name. Therefore, the aim – non-conceptualised or collateral – of this act of renaming has been to undermine the existing ideological, economic and political power of the holder by sacrificing one’s own intimate identity, as well as one’s own artistic and public identity. The artists have reached this goal through a strategy of subversive affirmation, which exploits the media effect of the renaming: the media cover this non-event on the basis of a certain automatism and thus generate a series of productive collisions. Apart from its almost physical character, the Janez Jan{\v s}a Project is also a media or mediated event par excellence, and it has been actually and fully realised only in forms of media representation. Its three manifestations – the intimate, or identity; the public, or political-performative; and the media, or mediated – can be best understood in the framework of contemporary biopolitics: the performance by the three artists is a form of their biopolitical self-representation.&lt;/p&gt;</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>5</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Krečič, Jela</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Janez Janša as Media Phenomenon</style></title><secondary-title><style face="normal" font="default" size="100%">NAME: readymade</style></secondary-title></titles><dates><year><style  face="normal" font="default" size="100%">2008</style></year></dates><publisher><style face="normal" font="default" size="100%">Moderna galerija ; Revolver</style></publisher><pub-location><style face="normal" font="default" size="100%">Ljubljana ; Berlin</style></pub-location><pages><style face="normal" font="default" size="100%">175-195</style></pages><language><style face="normal" font="default" size="100%">eng</style></language></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>6</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Štefančič, Marcel, jr.</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Janez Janša: biografija</style></title></titles><dates><year><style  face="normal" font="default" size="100%">2008</style></year></dates><publisher><style face="normal" font="default" size="100%">Mladina</style></publisher><pub-location><style face="normal" font="default" size="100%">Ljubljana</style></pub-location><pages><style face="normal" font="default" size="100%">368</style></pages><language><style face="normal" font="default" size="100%">eng</style></language><abstract><style face="normal" font="default" size="100%">&lt;p&gt;&lt;span&gt;Blurbi, s katerimi so v medijih ozaljšani po tiskarski barvi dišeči knjižni izvodi, ponavadi izpostavijo tisto, česar v knjigi zlepa ne boste našli ali pa je tako za lase privlečeno, da ni vredno pol pipe tobaka. Mejdun, v primeru tegale 1,83 kilskega cegla velikega formata pa je vse res. Celo tisto, kar berete v oglasih. Drži, to je knjiga, kot je na slovenskem trgu še ni bilo. In da, v zaskrbljujoče nalezljivem, subtilno ironičnem diskurzu vsebuje vse, kar ste vedno želeli vedeti o Janezu Janši, pa si tega niste upali vprašati. Gre za konceptualni tour de force na temo, kaj je vprašanje, če je odgovor Janez Janša. Oziroma za multipli orgazem uporabne hagiografije, ki sledi nebrzdanemu užitkarjenju ob pervertiranju sholastične zagonetke, koliko angelov lahko stoji na konici igle, v konkurenčno vprašanje, koliko Janezov Janš lahko vsebuje ena sama biografija, glede na razkošno tematiko vpeta v znatno prešibko platno 'sivomaslinaste boje'. Otroci socializma pomnimo, kako je pred desetletji staro in mlado nosilo pozlačene nitke, umetelno uvite v cirilični podpis Josipa Broza Tita, ki se je na plenumih lesketal z reverja marsikaterega tagmašnega reklca, kjer zdaj plapola plehnata slovenska zastavica. Marcelova bukla je intelektualistični ekvivalent tega podpisa z izrazito dodano vrednostjo, saj med klenim slovenstvom - četudi na nivoju nezavednega - glede odgovora na vprašanje: »Ko će nama da zameni Tita?« vlada popoln konsenz. Janez Janša, Janez Janša in Janez Janša so letos v Berlinu zasnovali projekt, naslovljen Erased (Izbrisani), kasneje pa Signature Event Context (Signatura Dogodek Kontekst), ki je med drugim izpostavil vlogo podpisa v javnem prostoru in uporabnika nagovarjal z vprašanjem, ali je še mogoča umetnost v času, ki ga po eni strani obsedajo stereotipi, po drugi strani pa politična korektnost. Janez Janša Biografija je knjiga odgovorov na to vprašanje in brevir podpisov, ki to vprašanje definirajo v času, ko se politika mirno poščije na umetnost. V bistvu zajebano in obenem nujno branje.&lt;/span&gt;&lt;/p&gt;</style></abstract></record><record><source-app name="Biblio" version="7.x">Drupal-Biblio</source-app><ref-type>6</ref-type><contributors><authors><author><style face="normal" font="default" size="100%">Badurina-Stipčević, V.</style></author><author><style face="normal" font="default" size="100%">Grubišić, Vinko</style></author></authors></contributors><titles><title><style face="normal" font="default" size="100%">Jeronimove hagiografije. 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