The aim of this research was to examine if there are some differences in a way optimists and pessimists react to unpleasant movie stimuli. The sample was convenient and it consisted of 42 (F=90%) students of psychology, from the Faculty of philosophy in Nish. Age range in the sample was from 18 to 20 (M=19, SD=.541). Instruments used in this research were: Life orientation test (LOT-R: Scheier, Carver, & Bridges, 1994) and Brief Mood Introspection Scale (BMIS: Mayer, & Gaschke, 2013) in order to operationalize the mood of the respondents. The stimulus was a scene from the movie Sophie’s Choice, which aimed at inducing a negative affect. From the results we can conclude that the mood of the optimists, after watching movie stimuli, is corrputed, while the mood of the pesimists isn't.So, in the further studies which examine emotion induction through movies, we suggest the inclusion of optimism-pesimism as a control variable.Also, for further studies we suggest the involvement of actors and testing how they react to film stimuli.
{"title":"OPTIMISM-PESSIMISM AND EMOTIONAL REACTIONS TO UNPLEASANT MOVIE SCENES","authors":"M. Jović, Ana Jovančević","doi":"10.22190/FUVAM1901041J","DOIUrl":"https://doi.org/10.22190/FUVAM1901041J","url":null,"abstract":"The aim of this research was to examine if there are some differences in a way optimists and pessimists react to unpleasant movie stimuli. The sample was convenient and it consisted of 42 (F=90%) students of psychology, from the Faculty of philosophy in Nish. Age range in the sample was from 18 to 20 (M=19, SD=.541). Instruments used in this research were: Life orientation test (LOT-R: Scheier, Carver, & Bridges, 1994) and Brief Mood Introspection Scale (BMIS: Mayer, & Gaschke, 2013) in order to operationalize the mood of the respondents. The stimulus was a scene from the movie Sophie’s Choice, which aimed at inducing a negative affect. From the results we can conclude that the mood of the optimists, after watching movie stimuli, is corrputed, while the mood of the pesimists isn't.So, in the further studies which examine emotion induction through movies, we suggest the inclusion of optimism-pesimism as a control variable.Also, for further studies we suggest the involvement of actors and testing how they react to film stimuli.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"46 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133480947","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The theme of the paper is the multidisciplinary activities of the Italian writer Alessandro Baricco. Blending elements of literature and music Baricco is a music critic and creator of a television series that promotes not only opera, but also many hybrid art forms. They unite literature and music as well as special theater performances - Totem, public readings, rave readings, literature playlists. In these activities, the writer`s postmodern orientation and tendency towards performance are recognizable. The paper also points to the frequent discrepancies between the critics and the audience when it comes to the reception of his works, as well as the polarization of the critics themselves.
{"title":"ARTISTIC CHALLENGES OF ALESSANDRO BARICCO - LITERATURE AND MUSIC","authors":"L. Petrovic","doi":"10.22190/FUVAM1901049P","DOIUrl":"https://doi.org/10.22190/FUVAM1901049P","url":null,"abstract":"The theme of the paper is the multidisciplinary activities of the Italian writer Alessandro Baricco. Blending elements of literature and music Baricco is a music critic and creator of a television series that promotes not only opera, but also many hybrid art forms. They unite literature and music as well as special theater performances - Totem, public readings, rave readings, literature playlists. In these activities, the writer`s postmodern orientation and tendency towards performance are recognizable. The paper also points to the frequent discrepancies between the critics and the audience when it comes to the reception of his works, as well as the polarization of the critics themselves.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128432398","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Ana Jovančević, N. Milicevic, D. Zdravić-Mihailović
The aim of this research was to check potential differences in music preferences between musicians and non-musicians. Music preferences were evinced by a short test on the topic (STOMP-R: Rentfrow & Gosling 2003), of the four types of music: Reflexive and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic. A sample of 209 students from the University of Niš (M=75; F=134), 112 non-musicians and 97 of musicians, were asked to give their opinion. The results of the t-test showed that there are differences between musicians and non-musicians as far as the preferences for one type of music or another is concerned. Statistically significant differences were found for the Reflexive and Complex music (p=.000), as well as for the Upbeat and Conventional music (p=.001). All statistically significant differences were in favor of the musicians. These results show that musicians prefer Reflexive and Complex as well as Upbeat and Conventional music, while differences don’t exist for the remaining two types of music. On the other hand, when it comes to differences in the preference for Upbeat and Conventional music, they can be attributed only to female subsample, so only female musicians differ from female non-musicians when it comes to preference for this type of music (p=.001), while male musicians don’t differ from male non-musicians, on the preference for thins genre (p=.213).
{"title":"DIFFERENCES IN MUSIC PREFERENCES BETWEEN MUSICIANS AND NON-MUSICIANS","authors":"Ana Jovančević, N. Milicevic, D. Zdravić-Mihailović","doi":"10.22190/FUVAM1901031J","DOIUrl":"https://doi.org/10.22190/FUVAM1901031J","url":null,"abstract":"The aim of this research was to check potential differences in music preferences between musicians and non-musicians. Music preferences were evinced by a short test on the topic (STOMP-R: Rentfrow & Gosling 2003), of the four types of music: Reflexive and Complex, Intense and Rebellious, Upbeat and Conventional, Energetic and Rhythmic. A sample of 209 students from the University of Niš (M=75; F=134), 112 non-musicians and 97 of musicians, were asked to give their opinion. The results of the t-test showed that there are differences between musicians and non-musicians as far as the preferences for one type of music or another is concerned. Statistically significant differences were found for the Reflexive and Complex music (p=.000), as well as for the Upbeat and Conventional music (p=.001). All statistically significant differences were in favor of the musicians. These results show that musicians prefer Reflexive and Complex as well as Upbeat and Conventional music, while differences don’t exist for the remaining two types of music. On the other hand, when it comes to differences in the preference for Upbeat and Conventional music, they can be attributed only to female subsample, so only female musicians differ from female non-musicians when it comes to preference for this type of music (p=.001), while male musicians don’t differ from male non-musicians, on the preference for thins genre (p=.213).","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128961094","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The aim of this paper is to reveal some of the not so well known aspects about studying in Paris of the Serbian painters Ljubomir Ivanović, Mihailo S. Petrov and Svetolik Lukić during the 1930s. A large number of painters travelled to Paris to learn about the contemporary trends in art, museums and galleries. Serbian/Yugoslav painters formed small colonies in Montparnase and Malakoffand, and they were actively involved in the bohemian art life.Those who could not afford to study or to live in Paris would go there for short “intensive” study trips that resembled pilgrimages. For a relatively short time they had to see all the wonders, visit the sites, absorb the atmosphere, history and culture of the French capital and to take home the impressions in their drawings and paintings. Ljubomir Ivanović, Mihailo S. Petrov and Svetolik Lukić among many faces of Paris chose to represent the identity of the city and their own identity.
本文的目的是揭示一些不太为人所知的方面在巴黎学习的塞尔维亚画家Ljubomir ivanoviki, Mihailo S. Petrov和Svetolik lukiki在20世纪30年代。大批画家前往巴黎，了解当代艺术、博物馆和画廊的发展趋势。塞尔维亚/南斯拉夫画家在蒙帕纳斯和马拉科夫德形成了小殖民地，他们积极参与波西米亚艺术生活。那些无法在巴黎学习或生活的人会去那里进行类似朝圣的短期“密集”学习之旅。在相对较短的时间内，他们必须参观所有的奇观，参观景点，感受法国首都的氛围、历史和文化，并把他们的素描和油画印象带回家。Ljubomir ivanovivic, Mihailo S. Petrov和Svetolik lukiki在巴黎的许多面孔中选择代表城市的身份和他们自己的身份。
{"title":"MEMORIES FROM PARIS: THREE PILGRIMAGES OF SERBIAN ARTISTS IN THE 1930s.","authors":"A. Milošević","doi":"10.22190/FUVAM1901059M","DOIUrl":"https://doi.org/10.22190/FUVAM1901059M","url":null,"abstract":"The aim of this paper is to reveal some of the not so well known aspects about studying in Paris of the Serbian painters Ljubomir Ivanović, Mihailo S. Petrov and Svetolik Lukić during the 1930s. A large number of painters travelled to Paris to learn about the contemporary trends in art, museums and galleries. Serbian/Yugoslav painters formed small colonies in Montparnase and Malakoffand, and they were actively involved in the bohemian art life.Those who could not afford to study or to live in Paris would go there for short “intensive” study trips that resembled pilgrimages. For a relatively short time they had to see all the wonders, visit the sites, absorb the atmosphere, history and culture of the French capital and to take home the impressions in their drawings and paintings. Ljubomir Ivanović, Mihailo S. Petrov and Svetolik Lukić among many faces of Paris chose to represent the identity of the city and their own identity.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-07-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131452624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper analyzes the phenomenon of world music and the preferences of music students from the Faculty of Arts of the University of Niš for this musical genre in the context of stimulating intercultural education. The research based on the descriptive method was conducted with the intention to obtain answers to questions about whether music students have knowledge/understanding of/for interculturality, to examine their attitudes towards different cultures, and whether they are ready to act against racial/cultural differences and prejudices. The results of this research were completed with the results of a survey, in which students evaluated selected examples of world music. This musical genre was chosen because in our opinion music is perceived not only as an autonomous artistic practice, but also as a representation of a particular culture, collective, and/or ethnic group. On the basis of the results, we tried to determine the students' reactions to the musical characteristics of the closer and distant cultural areas as well as their willingness to accept musical, linguistic and cultural differences in the context of the still dominant presence of the West European musical art in the process of academic education.
{"title":"MUSIC STUDENTS` PREFERENCES FOR WORLD MUSIC IN THE CONTEXT OF STIMULATING INTERCULTURAL EDUCATION","authors":"S. Cvetković, M. Đurđanović, Marija Đorđević","doi":"10.22190/FUVAM1802049C","DOIUrl":"https://doi.org/10.22190/FUVAM1802049C","url":null,"abstract":"The paper analyzes the phenomenon of world music and the preferences of music students from the Faculty of Arts of the University of Niš for this musical genre in the context of stimulating intercultural education. The research based on the descriptive method was conducted with the intention to obtain answers to questions about whether music students have knowledge/understanding of/for interculturality, to examine their attitudes towards different cultures, and whether they are ready to act against racial/cultural differences and prejudices. The results of this research were completed with the results of a survey, in which students evaluated selected examples of world music. This musical genre was chosen because in our opinion music is perceived not only as an autonomous artistic practice, but also as a representation of a particular culture, collective, and/or ethnic group. On the basis of the results, we tried to determine the students' reactions to the musical characteristics of the closer and distant cultural areas as well as their willingness to accept musical, linguistic and cultural differences in the context of the still dominant presence of the West European musical art in the process of academic education.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129756787","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This study examined and measured the impact of newspaper coverage on theatre publicity, popularity and patronage in Nigeria. The work appraises the extent to which Nigerian newspapers (by extension, the media) are contributing toward enhancing theatre publicity, popularity and patronage in Nigeria. The study utilized questions such as: do newspapers presently give attention to and thus provide publicity to theatres and their programmes? Is such attention worthwhile (adequate) under the present scheme of things or need to be intensified? How often do newspapers report theatre events? Do newspapers report theatre events more as features than as straight news, editorial or letters to editors? Coding schedule was used as the measuring instrument for data collection. A purposively selected sample comprising three Nigerian newspapers was studied. Content analysis research method was applied in carrying out the study. The study revealed that the contribution(s) of Nigerian newspapers to theatre popularity and patronage through publicity provided by their news coverage/feature stories is very minimal and grossly inadequate premised on the following findings: they do not give prominent attention to theatre events and programmes. They hardly report (place) news about theatre events and programmes on the front pages. They do not frequently report theatre events and programmes. Furthermore, they do not utilize features in presenting theatre events or programmes stories. The study therefore recommended that theatre producers and managers should intensify newspaper publicity options by setting up private newspapers or establishing mutually beneficial links with popular newspapers in view of promoting theatre publicity, popularity and patronage in Nigeria.
{"title":"IMPACT OF NEWSPAPER COVERAGE ON THEATRE PUBLICITY, POPULARITY AND PATRONAGE IN NIGERIA","authors":"V. Diakpomrere","doi":"10.22190/FUVAM1802063D","DOIUrl":"https://doi.org/10.22190/FUVAM1802063D","url":null,"abstract":"This study examined and measured the impact of newspaper coverage on theatre publicity, popularity and patronage in Nigeria. The work appraises the extent to which Nigerian newspapers (by extension, the media) are contributing toward enhancing theatre publicity, popularity and patronage in Nigeria. The study utilized questions such as: do newspapers presently give attention to and thus provide publicity to theatres and their programmes? Is such attention worthwhile (adequate) under the present scheme of things or need to be intensified? How often do newspapers report theatre events? Do newspapers report theatre events more as features than as straight news, editorial or letters to editors? Coding schedule was used as the measuring instrument for data collection. A purposively selected sample comprising three Nigerian newspapers was studied. Content analysis research method was applied in carrying out the study. The study revealed that the contribution(s) of Nigerian newspapers to theatre popularity and patronage through publicity provided by their news coverage/feature stories is very minimal and grossly inadequate premised on the following findings: they do not give prominent attention to theatre events and programmes. They hardly report (place) news about theatre events and programmes on the front pages. They do not frequently report theatre events and programmes. Furthermore, they do not utilize features in presenting theatre events or programmes stories. The study therefore recommended that theatre producers and managers should intensify newspaper publicity options by setting up private newspapers or establishing mutually beneficial links with popular newspapers in view of promoting theatre publicity, popularity and patronage in Nigeria.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"31 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113935571","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The author reopens the old problem of the aesthetics of television, that is whether television is an art or not. There are aestheticians who find the field for their investigation only in art, and, on the other hand, there are those who go beyond art. Similarly, there are theorists who conceive television as a medium for content reproduction, while there are also those who attribute artistic quality to certain television creativity. Aestheticians use genre analysis as a way to explain the aesthetics of television. In this paper, we investigate the validity of this analysis and its relation with discourse analysis. The results show that both methods are valid, yet discourse analysis could be more adequate in certain cases.
{"title":"THE AESTHETICS OF TELEVISION AND AESTHETIC EXPERIENCE","authors":"Ivana Stojanovič Prelevič","doi":"10.22190/FUVAM1802081S","DOIUrl":"https://doi.org/10.22190/FUVAM1802081S","url":null,"abstract":"The author reopens the old problem of the aesthetics of television, that is whether television is an art or not. There are aestheticians who find the field for their investigation only in art, and, on the other hand, there are those who go beyond art. Similarly, there are theorists who conceive television as a medium for content reproduction, while there are also those who attribute artistic quality to certain television creativity. Aestheticians use genre analysis as a way to explain the aesthetics of television. In this paper, we investigate the validity of this analysis and its relation with discourse analysis. The results show that both methods are valid, yet discourse analysis could be more adequate in certain cases. ","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"50 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128667135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The term magical realism was coined by the German art historian Franz Roh in his essay After expressionism: Magical Realism: Problems of the newest European painting (1925), and it initially referred to a new view of the real-world painting in Germany in the 1920s. It originated as a response to Impressionism, Expressionism, and Surrealism. Magical realism painters realistically depicted objects and beings in detail, while magic and mystery were highlighted by creating illusions and through a change in perspective. Venezuelan writer Arturo Uslar-Pietri used the term magical realism to describe a specific type of short story in which the view of man as a mystery surrounded by realistic data dominates. Soon enough, this term started to be used to describe Latin American literature in general primarily thanks to an article written by Angelo Flores: Magical Realism in Spanish American Fiction. The so-called Latin American Boom started in the 1960s when the elements of the magical realism narrative could also be found in the prose of writers coming from countries outside the South American continent. Therefore, the goal of this paper is to examine the magical realism phenomenon and its main characteristics with regard to painting in the first half of the 20th century, as well as to Latin American literature since the mid-20th century, and to show that art movements can be transferred from one art to another, that they can transform and change their basic concept.
{"title":"“UNEXPECTED ALTERNATION OF REALITY”: MAGICAL REALISM IN PAINTING AND LITERATURE","authors":"Danijela Kostadinović","doi":"10.22190/FUVAM1802035K","DOIUrl":"https://doi.org/10.22190/FUVAM1802035K","url":null,"abstract":"The term magical realism was coined by the German art historian Franz Roh in his essay After expressionism: Magical Realism: Problems of the newest European painting (1925), and it initially referred to a new view of the real-world painting in Germany in the 1920s. It originated as a response to Impressionism, Expressionism, and Surrealism. Magical realism painters realistically depicted objects and beings in detail, while magic and mystery were highlighted by creating illusions and through a change in perspective. Venezuelan writer Arturo Uslar-Pietri used the term magical realism to describe a specific type of short story in which the view of man as a mystery surrounded by realistic data dominates. Soon enough, this term started to be used to describe Latin American literature in general primarily thanks to an article written by Angelo Flores: Magical Realism in Spanish American Fiction. The so-called Latin American Boom started in the 1960s when the elements of the magical realism narrative could also be found in the prose of writers coming from countries outside the South American continent. Therefore, the goal of this paper is to examine the magical realism phenomenon and its main characteristics with regard to painting in the first half of the 20th century, as well as to Latin American literature since the mid-20th century, and to show that art movements can be transferred from one art to another, that they can transform and change their basic concept.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130868111","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Public broadcasters have the professional responsibility and legal obligation to report on topics of public interest, including topics related to culture and, more specifically, arts, in order to meet communication needs of people, as reflected in the three main roles of the media: information, education and entertainment. In this paper, the authors investigated whether and to what an extent the Cultural News Program of Serbian Radio and Television reports on different types of arts, the achievements of artists and their works, the cultural policy of Serbia, and whether this program meets one of the basic objectives of journalism – education. The results of the monitoring clearly indicated that diverse and different types of art were reported on, but they also showed that there was marginalization of topics related to cultural policy.
{"title":"ART THROUGH THE PRISM OF CULTURAL NEWS PROGRAM","authors":"M. Mitrović, T. Vulic","doi":"10.22190/FUVAM1801011M","DOIUrl":"https://doi.org/10.22190/FUVAM1801011M","url":null,"abstract":"Public broadcasters have the professional responsibility and legal obligation to report on topics of public interest, including topics related to culture and, more specifically, arts, in order to meet communication needs of people, as reflected in the three main roles of the media: information, education and entertainment. In this paper, the authors investigated whether and to what an extent the Cultural News Program of Serbian Radio and Television reports on different types of arts, the achievements of artists and their works, the cultural policy of Serbia, and whether this program meets one of the basic objectives of journalism – education. The results of the monitoring clearly indicated that diverse and different types of art were reported on, but they also showed that there was marginalization of topics related to cultural policy. ","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"22 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115987281","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The process of founding and shaping a capital proved to be one of the key issues within the representative culture in any era. This was of particular importance when it came to the 19th century societies in the Balkans due to the emergence of national consciousness and the creation of nation-states on what had been Ottoman territory for quite a long time. Despite the lack of independence and extreme political circumstances, the Serbian community was aware of contemporary European phenomena in creating and disseminating the ruler’s image as an important part of enhancing the sense of national identity. The heart of Serbia under the reign of Milos Obrenovic was a princely court in Gornja Crnuca that, in spite of its structural simplicity, was an unmistakable expression of the highest state authorities.
{"title":"KONAK IN GORNJA CRNUCA: THE COURT OF PRINCE MILOS OBRENOVIC","authors":"Tijana Borić","doi":"10.22190/FUVAM1801025B","DOIUrl":"https://doi.org/10.22190/FUVAM1801025B","url":null,"abstract":"The process of founding and shaping a capital proved to be one of the key issues within the representative culture in any era. This was of particular importance when it came to the 19th century societies in the Balkans due to the emergence of national consciousness and the creation of nation-states on what had been Ottoman territory for quite a long time. Despite the lack of independence and extreme political circumstances, the Serbian community was aware of contemporary European phenomena in creating and disseminating the ruler’s image as an important part of enhancing the sense of national identity. The heart of Serbia under the reign of Milos Obrenovic was a princely court in Gornja Crnuca that, in spite of its structural simplicity, was an unmistakable expression of the highest state authorities.","PeriodicalId":297431,"journal":{"name":"Facta Universitatis, Series: Visual Arts and Music","volume":"12 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133336193","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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