From the 19th century uprising period to the present day, Serbia has witnessed a controlled militarization of urban areas as part of its defense policy, with the army showcasing its fighting spirit and emphasizing its crucial role in the public security system. During peacetime, this process unfolds gradually and inconspicuously as 'peacetime protective' measures, but escalates during political crises and wars. The devastating war conflicts, resulting from geopolitical and regional crises that often spilled into Serbia's territory over the last two centuries, have had adverse effects on both military and civil infrastructure. Beyond architecture, which holds significant communicative importance, this militarization has also impacted other aspects of visual culture. Military facilities, as a means of controlling public spaces, have assumed a prominent position in Serbian cities' symbolic topographies, often occupying main squares. Their construction is coordinated with the strategies of the Ministry of the Army's (or Defense) strategies, general urban plans and Serbia's spatial development. However, conflicts between architects and military institution managers often arose during implementation, with architects striving for adherence to planned solutions and artistic visions, while clients sought adaptation to current security needs. Despite developing in a more modest form compared to major world powers, Serbia's militarization of public spaces continues to merit critical examination. Beyond the architecturally-urban perspective dominant in scientific historiography, military complexes warrant a more comprehensive analysis from a security standpoint and as a legacy of a distinct military visual culture, influenced by military hierarchy dynamics and the country's changing geopolitical position. Thus, increased openness of military institutions to research their architectural past and improved collaboration between architectural and military historians could effectively address existing knowledge gaps.
{"title":"Unbreakable bonds: Serbian architects and the military (19th-21st century)","authors":"Aleksandar Kadijević","doi":"10.5937/zbaku2311062k","DOIUrl":"https://doi.org/10.5937/zbaku2311062k","url":null,"abstract":"From the 19th century uprising period to the present day, Serbia has witnessed a controlled militarization of urban areas as part of its defense policy, with the army showcasing its fighting spirit and emphasizing its crucial role in the public security system. During peacetime, this process unfolds gradually and inconspicuously as 'peacetime protective' measures, but escalates during political crises and wars. The devastating war conflicts, resulting from geopolitical and regional crises that often spilled into Serbia's territory over the last two centuries, have had adverse effects on both military and civil infrastructure. Beyond architecture, which holds significant communicative importance, this militarization has also impacted other aspects of visual culture. Military facilities, as a means of controlling public spaces, have assumed a prominent position in Serbian cities' symbolic topographies, often occupying main squares. Their construction is coordinated with the strategies of the Ministry of the Army's (or Defense) strategies, general urban plans and Serbia's spatial development. However, conflicts between architects and military institution managers often arose during implementation, with architects striving for adherence to planned solutions and artistic visions, while clients sought adaptation to current security needs. Despite developing in a more modest form compared to major world powers, Serbia's militarization of public spaces continues to merit critical examination. Beyond the architecturally-urban perspective dominant in scientific historiography, military complexes warrant a more comprehensive analysis from a security standpoint and as a legacy of a distinct military visual culture, influenced by military hierarchy dynamics and the country's changing geopolitical position. Thus, increased openness of military institutions to research their architectural past and improved collaboration between architectural and military historians could effectively address existing knowledge gaps.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"47 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136302984","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 transmedia storytelling refers to diverse processes of creating and distributing stories through available and current media technology to reach a wider or clearly defined audience. In contemporary culture, transmedia storytelling plays an increasingly functional role in the expansively oriented mediation of artistic practices. Nearly every art institution engages with its audience through social networks, and internet presentation and communication have become essential for artists' public presence. In the context of convergence culture, transmedia music is presented in the public space by creating accompanying digital texts enabling diverse interactions and experiences with the audience. Transmedia storytelling is highly relevant to the sphere of music, as this innovative concept can practically be implemented to highlight the uniqueness of a musical piece, product, or practice using 'storytelling' techniques across various media channels, aiming for enhanced promotion in the media space and cultural market. This paper will provide a thorough presentation of the concept of transmedia storytelling, its features and mechanisms, and will also illustrate the potential of this practice in the context of digitally mediated music using concrete examples.
{"title":"There is no end to storytelling: Transmedia storytelling in the digital mediation of music","authors":"Sanela Nikolić, Biljana Leković","doi":"10.5937/zbaku2311202n","DOIUrl":"https://doi.org/10.5937/zbaku2311202n","url":null,"abstract":"The term transmedia storytelling refers to diverse processes of creating and distributing stories through available and current media technology to reach a wider or clearly defined audience. In contemporary culture, transmedia storytelling plays an increasingly functional role in the expansively oriented mediation of artistic practices. Nearly every art institution engages with its audience through social networks, and internet presentation and communication have become essential for artists' public presence. In the context of convergence culture, transmedia music is presented in the public space by creating accompanying digital texts enabling diverse interactions and experiences with the audience. Transmedia storytelling is highly relevant to the sphere of music, as this innovative concept can practically be implemented to highlight the uniqueness of a musical piece, product, or practice using 'storytelling' techniques across various media channels, aiming for enhanced promotion in the media space and cultural market. This paper will provide a thorough presentation of the concept of transmedia storytelling, its features and mechanisms, and will also illustrate the potential of this practice in the context of digitally mediated music using concrete examples.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136306327","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}
Throughout centuries, the concept of church music has held significant importance within the Orthodox Church. Its positive reception in the life of the Serbian Orthodox Church is evident by its frequent usage to describe various musical practices, such as: 'church singing, 'choral singing, 'polyphonic singing (or singing from sheet music)', 'Serbian folk singing', 'Karlovac chant', 'Belgrade chant' or 'Byzantine chant'. Drawing from anthropological research, we establish the definition of music through two interdependent approaches. Music is a cultural construct that lacks uniqueness and universality, but rather possesses a multitude of meanings dependent on collective and individual perspectives. Simultaneously, music is a cultural phenomenon that engenders diverse forms of identity, ranging from ethnic, gender, individual, collective, to local or global identities. From the perspective of Eucharistic theology, the Church is presented as the Mystery of unity between the created and the uncreated, founded in the Trinitarian nature of existence. The identity of the Church is not confined to historical and institutional frameworks, but is found in eschatology - the Kingdom of God. The Eucharistic church singing is examined in relation to church music and its connection with the anthropological understanding of music. The findings are analyzed from the standpoint of Orthodox ecclesiology. This paper aims to explore whether the identification of Eucharistic church singing with music, as a human category, can be positively argued within Orthodox theology.
{"title":"Theologico-ecclesiological analysis of the term 'Church music' in the light of anthropological understanding of music","authors":"Sanja Stevanović","doi":"10.5937/zbaku2311281s","DOIUrl":"https://doi.org/10.5937/zbaku2311281s","url":null,"abstract":"Throughout centuries, the concept of church music has held significant importance within the Orthodox Church. Its positive reception in the life of the Serbian Orthodox Church is evident by its frequent usage to describe various musical practices, such as: 'church singing, 'choral singing, 'polyphonic singing (or singing from sheet music)', 'Serbian folk singing', 'Karlovac chant', 'Belgrade chant' or 'Byzantine chant'. Drawing from anthropological research, we establish the definition of music through two interdependent approaches. Music is a cultural construct that lacks uniqueness and universality, but rather possesses a multitude of meanings dependent on collective and individual perspectives. Simultaneously, music is a cultural phenomenon that engenders diverse forms of identity, ranging from ethnic, gender, individual, collective, to local or global identities. From the perspective of Eucharistic theology, the Church is presented as the Mystery of unity between the created and the uncreated, founded in the Trinitarian nature of existence. The identity of the Church is not confined to historical and institutional frameworks, but is found in eschatology - the Kingdom of God. The Eucharistic church singing is examined in relation to church music and its connection with the anthropological understanding of music. The findings are analyzed from the standpoint of Orthodox ecclesiology. This paper aims to explore whether the identification of Eucharistic church singing with music, as a human category, can be positively argued within Orthodox theology.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136306174","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}
Considering the remarkable dearth of articles and studies on the work and oeuvre of Vojislav Voki Kostić, a significant figure who made valuable contributions to incidental music (particularly in the theater), this paper aims to present Kostić's body of work and analyze the fundamental principles that guided him in composing incidental music for theatrical performances. The preliminary conclusions presented in this paper are based on experiences gained from watching plays through archival videos (Kosančićev Venac 7, Marija se Bori s Anđelima, Madam San Žen, Garderober, Marija Stjuart, Bekstvo, Kneginja od Foli Beržera, Valjevska Bolnica, Sabirni Centar, Očevi i Oci, and Ruženje Naroda u Dva Dela), as well as on available primary and secondary sources (composer's autobiography, interviews, recordings, and others). Thus, this exploration of the composer's music for the theater is seen as a preliminary step in towards more comprehensive research that Kostić's work warrants. Additionally, the paper briefly discusses the challenges associated with researching incidental music in the theater, particularly in the case of approaching Kostić's music due to the scarcity of archival materials and limited contact with potential heirs of his legacy. For the purpose of a concise analytical review of Kostić's music for the play Maria Stuart, Schiller's text is briefly presented to facilitate an understanding of the staging of this work and the interpretation of Kostić's music in the context of the aforementioned performance.
考虑到沃伊斯拉夫·沃基·科斯季奇(Vojislav Voki kostiki)是一位对附带音乐(特别是在戏剧中)做出宝贵贡献的重要人物，他的作品和作品的文章和研究非常缺乏，本文旨在介绍科斯季奇的作品主体，并分析指导他为戏剧表演创作附带音乐的基本原则。本文提出的初步结论基于通过档案录像(Kosančićev Venac 7、Marija se Bori s Anđelima、Madam San Žen、Garderober、Marija Stjuart、Bekstvo、Kneginja od Foli Beržera、Valjevska Bolnica、Sabirni Centar、oevi i Oci和Ruženje Naroda u Dva Dela)观看戏剧所获得的经验，以及现有的一手和二手资料(作曲家自传、访谈、录音等)。因此，对作曲家的戏剧音乐的探索被视为迈向更全面研究的初步步骤，kostiki的工作保证。此外，本文简要讨论了与研究剧院附带音乐相关的挑战，特别是在接近科斯季奇音乐的情况下，由于档案材料的稀缺和与他的遗产的潜在继承人的有限接触。为了对科斯蒂奇的音乐作一个简明的分析回顾，本文简要介绍了席勒的文本，以促进对这部作品的分期的理解，并在上述演出的背景下解释科斯蒂奇的音乐。
{"title":"Incidental music by Vojislav Voki Kostić in theater: Preliminary insights with an analytical review of the music for the play 'Maria Stuart'","authors":"Monika Novaković","doi":"10.5937/zbaku2311238n","DOIUrl":"https://doi.org/10.5937/zbaku2311238n","url":null,"abstract":"Considering the remarkable dearth of articles and studies on the work and oeuvre of Vojislav Voki Kostić, a significant figure who made valuable contributions to incidental music (particularly in the theater), this paper aims to present Kostić's body of work and analyze the fundamental principles that guided him in composing incidental music for theatrical performances. The preliminary conclusions presented in this paper are based on experiences gained from watching plays through archival videos (Kosančićev Venac 7, Marija se Bori s Anđelima, Madam San Žen, Garderober, Marija Stjuart, Bekstvo, Kneginja od Foli Beržera, Valjevska Bolnica, Sabirni Centar, Očevi i Oci, and Ruženje Naroda u Dva Dela), as well as on available primary and secondary sources (composer's autobiography, interviews, recordings, and others). Thus, this exploration of the composer's music for the theater is seen as a preliminary step in towards more comprehensive research that Kostić's work warrants. Additionally, the paper briefly discusses the challenges associated with researching incidental music in the theater, particularly in the case of approaching Kostić's music due to the scarcity of archival materials and limited contact with potential heirs of his legacy. For the purpose of a concise analytical review of Kostić's music for the play Maria Stuart, Schiller's text is briefly presented to facilitate an understanding of the staging of this work and the interpretation of Kostić's music in the context of the aforementioned performance.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"48 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136306209","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}
Bearing in mind the potential of costume to construct and actively create meanings and to initiate, shape, and define a performance, the paper examines the nature and role of performance costume in projects and performances of several important Croatian artists who are either costume designers or performance artists or both, such as Vlasta Delimar, Ivana Popović, Ksenija Kordić, Tajči Čekada, and Ivana Bakal, and whose work significantly modified the notion and status of costume and costume design(er) in Croatian performing arts at the end of the 20th and the beginning of the 21st centuries. Furthermore, it focuses on the strategies of costume design(er) in articulating the relationship between costume, performance, and society with special emphasis on the position of costume design(er) and costume based performance towards producing, interpreting or performing various individual and collective identities, body, ecology, social activism, and the artist's social status.
{"title":"Costume, performance, and society: Engaging in a dialogue","authors":"Martina Petranović","doi":"10.5937/zbaku2210054p","DOIUrl":"https://doi.org/10.5937/zbaku2210054p","url":null,"abstract":"Bearing in mind the potential of costume to construct and actively create meanings and to initiate, shape, and define a performance, the paper examines the nature and role of performance costume in projects and performances of several important Croatian artists who are either costume designers or performance artists or both, such as Vlasta Delimar, Ivana Popović, Ksenija Kordić, Tajči Čekada, and Ivana Bakal, and whose work significantly modified the notion and status of costume and costume design(er) in Croatian performing arts at the end of the 20th and the beginning of the 21st centuries. Furthermore, it focuses on the strategies of costume design(er) in articulating the relationship between costume, performance, and society with special emphasis on the position of costume design(er) and costume based performance towards producing, interpreting or performing various individual and collective identities, body, ecology, social activism, and the artist's social status.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"177 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76463854","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 proposed paper concerns with fashion and clothing as visual and semiotic signifiers of both the individual and society in William Shakespeare's The Tragedy of Macbeth and its representations in other media: film (costume design) and haute couture (fashion design). As such, the language of fashion and the vestimentary frame of Shakespeare's tragedy are used as tools for visual and semiotic reading of sociocultural anxieties between the individual and the society as expressed through art. Given rich symbolic and metaphoric value of the language of fashion in Macbeth through which Shakespeare conceptualises his characters and their relationships with the societal framework they inhabit, the paper will thus demonstrate how such a relationship can be conveyed through film costume and fashion design. Analysed representations will consider costume design by Jacqueline Durran for Justin Kurzel's film Macbeth (2015) and fashion design by Alexander McQueen and his collection The Widows of Culloden (2006). In such analysis, fashion is, as fashion theorist Elizabeth Wilson defines it, seen as a cultural metaphor for the body and the material with which we write or draw a representation of the body into our cultural context.
{"title":"Fashioning the individual and society in William Shakespeare's The Tragedy of Macbeth and its film costume and fashion representations","authors":"Stefan Žarić","doi":"10.5937/zbaku2210086z","DOIUrl":"https://doi.org/10.5937/zbaku2210086z","url":null,"abstract":"The proposed paper concerns with fashion and clothing as visual and semiotic signifiers of both the individual and society in William Shakespeare's The Tragedy of Macbeth and its representations in other media: film (costume design) and haute couture (fashion design). As such, the language of fashion and the vestimentary frame of Shakespeare's tragedy are used as tools for visual and semiotic reading of sociocultural anxieties between the individual and the society as expressed through art. Given rich symbolic and metaphoric value of the language of fashion in Macbeth through which Shakespeare conceptualises his characters and their relationships with the societal framework they inhabit, the paper will thus demonstrate how such a relationship can be conveyed through film costume and fashion design. Analysed representations will consider costume design by Jacqueline Durran for Justin Kurzel's film Macbeth (2015) and fashion design by Alexander McQueen and his collection The Widows of Culloden (2006). In such analysis, fashion is, as fashion theorist Elizabeth Wilson defines it, seen as a cultural metaphor for the body and the material with which we write or draw a representation of the body into our cultural context.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"67 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90269883","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 article contains scientific reflections on the ways of performing vocal parts in a contemporary opera on the example of the opera by a living Polish composer Elżbieta Sikora entitled Madame Curie, telling the story of life and work of an outstanding Polish scientist and Nobel Prize winner, Maria Curie-Skłodowska. Based on her own experiences in performing one of the roles in the opera - an American journalist, Missy Meloney - the author analyses the vocal part in terms of melodic, intonation, rhythmic, articulation and acting difficulties and forms conclusions about the specifics of voice leading.
{"title":"The specificity of voice leading in Elżbieta Sikora's Opera Madame Curie from the perspective of performing the part of Missy Meloney","authors":"Monika Fedyk-Klimaszewska","doi":"10.5937/zbaku2210166k","DOIUrl":"https://doi.org/10.5937/zbaku2210166k","url":null,"abstract":"This article contains scientific reflections on the ways of performing vocal parts in a contemporary opera on the example of the opera by a living Polish composer Elżbieta Sikora entitled Madame Curie, telling the story of life and work of an outstanding Polish scientist and Nobel Prize winner, Maria Curie-Skłodowska. Based on her own experiences in performing one of the roles in the opera - an American journalist, Missy Meloney - the author analyses the vocal part in terms of melodic, intonation, rhythmic, articulation and acting difficulties and forms conclusions about the specifics of voice leading.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"10 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90313278","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}
{"title":"Pozornica je veza sa vlastitim unutrašnjim životom - razgovor sa profesorom i rediteljem Nikitom Milivojevićem","authors":"Marina Milivojević-Mađarev","doi":"10.5937/zbakum2210010m","DOIUrl":"https://doi.org/10.5937/zbakum2210010m","url":null,"abstract":"","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87076234","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 the paper is to map the transformation of historical and cultural trauma - "when an entire city ended up under the ice" - that restored collective memories of the city to the transnational memory and narratives of absolute victims, and to show the transformation through the analysis of Cold Days (András Kovács, Hungary) and Monument (1967, Miroslav Antić, SFRY). Their complementary narratives about the Novi Sad raid, told from different national perspectives, opposing perceptions of victims and perpetrators, from the point of view of generations and postgenerations (the author of this text belonging to the latter), side by side with titles that only touch on a topic, like The Jews are Coming (Prvoslav Marić, 1991, SFRY) and Hourglass (Szabolcs Tolnai, 2007, SFRY), become, at the same time, spaces for inscribing the intricate dialectic of ethnicisation and de-ethnicisation of memory and a cultural framework that shapes images of the past and interpretations of history. In the same vein, the paper uses three theoretical interpretive frameworks - "violence as a generative force in the Balkans" (Max Bergholz, 2016); transnational remembrance and absolute victims and "memory and complicity" (Debarati Sanyal, 2015) - which open up new readings of the past and writing history in films, in line with the contemporary political context. The paper recognises the mentioned de-ethnicisation as a shift from ethnic to ethic, marked by the eth/n/ic word play, and thus connected with the fundamental question of identity and the relationship between identity and memory. At the same time, shaping the memory of the individual and the memory of different social groups to which he / she belongs in the collective memory, testifies to how the latter "became a powerful symbol of numerous political and social transitions" that require individuals to (re)position themselves in society.
{"title":"Sand and snow of a film memory: The Novi Sad raid","authors":"Nevena Daković","doi":"10.5937/zbaku2210024d","DOIUrl":"https://doi.org/10.5937/zbaku2210024d","url":null,"abstract":"The aim of the paper is to map the transformation of historical and cultural trauma - \"when an entire city ended up under the ice\" - that restored collective memories of the city to the transnational memory and narratives of absolute victims, and to show the transformation through the analysis of Cold Days (András Kovács, Hungary) and Monument (1967, Miroslav Antić, SFRY). Their complementary narratives about the Novi Sad raid, told from different national perspectives, opposing perceptions of victims and perpetrators, from the point of view of generations and postgenerations (the author of this text belonging to the latter), side by side with titles that only touch on a topic, like The Jews are Coming (Prvoslav Marić, 1991, SFRY) and Hourglass (Szabolcs Tolnai, 2007, SFRY), become, at the same time, spaces for inscribing the intricate dialectic of ethnicisation and de-ethnicisation of memory and a cultural framework that shapes images of the past and interpretations of history. In the same vein, the paper uses three theoretical interpretive frameworks - \"violence as a generative force in the Balkans\" (Max Bergholz, 2016); transnational remembrance and absolute victims and \"memory and complicity\" (Debarati Sanyal, 2015) - which open up new readings of the past and writing history in films, in line with the contemporary political context. The paper recognises the mentioned de-ethnicisation as a shift from ethnic to ethic, marked by the eth/n/ic word play, and thus connected with the fundamental question of identity and the relationship between identity and memory. At the same time, shaping the memory of the individual and the memory of different social groups to which he / she belongs in the collective memory, testifies to how the latter \"became a powerful symbol of numerous political and social transitions\" that require individuals to (re)position themselves in society.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"64 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91082689","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}
Due to the rich and stylistically heterogeneous artistic creativity of Alexander Nikolayevich Scriabin, his affinity towards various philosophical and religious narratives, as well as to his interest and accomplishments in the domain of poetry, the discourse created around the name and works of Scriabin has been abundant with exceptional diversity in artistic, critical and ideological context. Contemporary researchers, dealing with such often conflicting views on the art and worldview of Alexander Scriabin, are faced with numerous issues and doubts. In this paper, two questions are posed that need to be unravelled in order to finally demystify Scriabin: how and in what way did Scriabin, an apparently apolitical artist, participate in the aspirations of the Russian intelligentsia and artists of the Silver Age to create a social utopia and to what did this composer owe a distinguished social status in his time? The answers to these questions lead to the conclusion that Scriabin was a reactionary, modernist figure, who, by representing his own conception of social transformation and future utopia, mediated between the idealist and materialist currents of the Russian intelligentsia.
{"title":"The Scriabin postcard: The importance of Alexander Nikolayevich Scriabin in the intellectual circles of the Russian fin de siècle","authors":"B. Trifunović","doi":"10.5937/zbaku2210188t","DOIUrl":"https://doi.org/10.5937/zbaku2210188t","url":null,"abstract":"Due to the rich and stylistically heterogeneous artistic creativity of Alexander Nikolayevich Scriabin, his affinity towards various philosophical and religious narratives, as well as to his interest and accomplishments in the domain of poetry, the discourse created around the name and works of Scriabin has been abundant with exceptional diversity in artistic, critical and ideological context. Contemporary researchers, dealing with such often conflicting views on the art and worldview of Alexander Scriabin, are faced with numerous issues and doubts. In this paper, two questions are posed that need to be unravelled in order to finally demystify Scriabin: how and in what way did Scriabin, an apparently apolitical artist, participate in the aspirations of the Russian intelligentsia and artists of the Silver Age to create a social utopia and to what did this composer owe a distinguished social status in his time? The answers to these questions lead to the conclusion that Scriabin was a reactionary, modernist figure, who, by representing his own conception of social transformation and future utopia, mediated between the idealist and materialist currents of the Russian intelligentsia.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"283 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85448285","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}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：