This paper examines the drawings of Radomir Paja Janković (1943-1994) as visual historical sources for the study of old Priština in the second half of the 20th century. Starting from the biographical and artistic context of an artist who lived and worked in Priština, the paper analyzes his body of drawings as testimony to the urban space at the moment of its disappearance. Special attention is devoted to architectural motifs, compositional solutions, and drawing techniques that enable the reconstruction of the morphology of the old city center and the atmosphere of a traditional way of life. The drawings are considered in relation to earlier written sources, travelogues, and ethnographic records from the 19th century, which provide narrative descriptions of space and everyday life and which find a visual resonance in Janković's work. In this way, the paper highlights the importance of fine art as a reliable visual source for the study of urban history, cultural memory, and the processes of disappearance of traditional urban units. Janković's drawings are interpreted as a synthesis of artistic expression and documentary value, contributing to the preservation of the visual memory of old Priština.
In the paper, the author deals with creating a connection between the preamble of the Serbian Constitution of 2006 and the concept of constitutional identity, in the part where the preamble mentions Kosovo and Metohija. In the first part, he deals with the origin and concept of the preamble, while in the second part, its legal nature is determined. Then he points out the problems of the part of the preamble that refers to Kosovo and Metohija. Finally, the author, explaining the concept and importance of constitutional identity, makes a connection between Kosovo and Metohija in the preamble and the constitutional identity of our country, and concludes that the intention of the framers of the constitution was probably to “carve” Kosovo and Metohija into our constitutional identity.
The initial knowledge that Dositej acquired in the library of the Hopovo Monastery, supported by his curiosity, led him on a fabulous journey of knowledge - into the "kingdom of ideas", where he absorbed a variety of ideas, from the ideas of ancient and classical thought to European enlightenment thinkers and rationalists. In his works, Dositej tells about his epistemologically motivated "wandering", or intellectual nomadism, in the first person, which represents the authentic narrative of his philosophical, and later also enlightenment opus. The aim of the paper is to gain a deeper insight into the intellectual nomadism of Dositej Obradović and to assess his achievements and impact on Serbian society. For the purposes of the paper, the historical-comparative, as well as the analytical-synthetic method was used, which is especially visible in the part that relates to his travels and the knowledge he acquired in the countries in which he stayed. The conclusion of the paper is that Dositej Obradović, thanks to his intellectual nomadism, brings to his writing style a radiant spirit of reason, research and humanism, which are distinguished by clarity and rationality, as well as universalism and tolerance, and that his works transcend national themes and borders. As a sincere advocate of universal human values, he emphasizes the importance of tolerance in his writings, thus calling on readers to accept diversity and reject prejudice. His discussions lead to critical thinking, encouraging readers to question dogmas and seek new knowledge. Dositej Obradović's intellectual nomadism transcends the usual boundaries, known languages, and disciplines of the traveling students and teachers of that time. His intellectual legacy, which endures and is meaningful to us today, is a beacon that guides us through the labyrinth of ideas, and continues to inspire future generations, reminding us that the pursuit of knowledge has no boundaries.
