The aim of this paper is to give a theoretical approach to the status of a song in a film, which can be found in the space between the original and the archival film music. The case studies taken for this paper represent some of the most popular films, to whose popularity contributed precisely a song. Zoran Simjanovic wrote music for both films that will be presented here and whose music will be analyzed, as it is mostly made up of songs.
{"title":"Zoran simjanović's Balkan Ekspres mix: The status of a song between the archival and the original film music","authors":"M. Novaković","doi":"10.5937/zbakum1907120n","DOIUrl":"https://doi.org/10.5937/zbakum1907120n","url":null,"abstract":"The aim of this paper is to give a theoretical approach to the status of a song in a film, which can be found in the space between the original and the archival film music. The case studies taken for this paper represent some of the most popular films, to whose popularity contributed precisely a song. Zoran Simjanovic wrote music for both films that will be presented here and whose music will be analyzed, as it is mostly made up of songs.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"302 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78112256","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}
In the mid-20th century, the expansion of popular music led to an increase in the number of amateur vocal-instrumental ensembles, primarily in the English speaking countries. One of these ensembles was also the music group The Beatles, who during their discography career presented extensive knowledge of a large number of music subgenres, especially folklore, which is shown in this paper through the melodicoharmonic, rhythmic, and organological analysis of selected musical examples. Since traditional music from different folklore areas is also considered in the paper, the need for defining each subgenre from a music, but also from the anthropological point of view, has been created. Subgenres are then presented through the analysis of melodic lines, instrumentation, and rhythmic motifs in The Beatles' songs and certain conclusions are formed by a comparative method of research.
{"title":"The elements of folklore music in the songs by The Beatles","authors":"D. Petkovic","doi":"10.5937/zbakum1907133p","DOIUrl":"https://doi.org/10.5937/zbakum1907133p","url":null,"abstract":"In the mid-20th century, the expansion of popular music led to an increase in the number of amateur vocal-instrumental ensembles, primarily in the English speaking countries. One of these ensembles was also the music group The Beatles, who during their discography career presented extensive knowledge of a large number of music subgenres, especially folklore, which is shown in this paper through the melodicoharmonic, rhythmic, and organological analysis of selected musical examples. Since traditional music from different folklore areas is also considered in the paper, the need for defining each subgenre from a music, but also from the anthropological point of view, has been created. Subgenres are then presented through the analysis of melodic lines, instrumentation, and rhythmic motifs in The Beatles' songs and certain conclusions are formed by a comparative method of research.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"2 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75568301","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 paper is seeking to address the question of how the wider socioeconomic capitalisation process during British colonialism affected musical life in the case of Cyprus. The main sources for research are products of the island's Greeklanguage press of the first half of the 20th century as well as literature related to the socio-economic framework of the same period. From the colonial period on wards, Cypriot culture accepted the public concert as the dominant means for presenting music and developed a stable institutional foundation for Western art music together with its commercial paraphernalia including musical instruments and sound devices. Considering commodification as one of the initial characteristics of the capitalist way of production, this paper will seek to identify the ways in which music activity in colonial Cyprus had adapted to the notion of commercial advantage, thus setting a solid infrastructure which allowed it to enter the capitalist exchange system in a commodity form.
{"title":"Social and musical impact on Cyprus as British colony: A historic overview","authors":"Anastasia Hasikou","doi":"10.5937/zbakum1907090h","DOIUrl":"https://doi.org/10.5937/zbakum1907090h","url":null,"abstract":"This paper is seeking to address the question of how the wider socioeconomic capitalisation process during British colonialism affected musical life in the case of Cyprus. The main sources for research are products of the island's Greeklanguage press of the first half of the 20th century as well as literature related to the socio-economic framework of the same period. From the colonial period on wards, Cypriot culture accepted the public concert as the dominant means for presenting music and developed a stable institutional foundation for Western art music together with its commercial paraphernalia including musical instruments and sound devices. Considering commodification as one of the initial characteristics of the capitalist way of production, this paper will seek to identify the ways in which music activity in colonial Cyprus had adapted to the notion of commercial advantage, thus setting a solid infrastructure which allowed it to enter the capitalist exchange system in a commodity form.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79684237","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 analyse the spectacle as a production and proliferation of the visible through which it is possible to articulate different theoretical approaches to identities, representations and politics of the body, and which are constructed or performed in art. Through the multiperspectivistic approach, the British artist Mark Quinn's sculpture Alison Lapper Pregnant, which was presented in the period from 2005 to 2012 in three different contexts, is analysed. It is shown that the contemporary subject in the globalised world does not possess an integrated, fixed and singular identity any longer. Complex and not infrequently antagonistic systems of meaning which intertwine within cultural paradigm have contributed directly to this disintegration.
{"title":"Spectacle as the production of visible: Body, identities and politics exemplified by Marc Quinn's sculpture Alison lapper pregnant","authors":"Lidija Marinkov-Pavlović","doi":"10.5937/ZBAKUM1801046M","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801046M","url":null,"abstract":"The aim of the paper is to analyse the spectacle as a production and proliferation of the visible through which it is possible to articulate different theoretical approaches to identities, representations and politics of the body, and which are constructed or performed in art. Through the multiperspectivistic approach, the British artist Mark Quinn's sculpture Alison Lapper Pregnant, which was presented in the period from 2005 to 2012 in three different contexts, is analysed. It is shown that the contemporary subject in the globalised world does not possess an integrated, fixed and singular identity any longer. Complex and not infrequently antagonistic systems of meaning which intertwine within cultural paradigm have contributed directly to this disintegration.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"46-63"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215360","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}
Noise was a central category in Modernist art and literature as it formed an integral part of the modern urban experience and had a profound effect on the human psyche. It also became an important feature in musical aesthetics. The Futurists were amongst the first to give it a profound theoretical foundation. Luigi Russolo sought to reclaim the infinite variety of sounds found in Nature and the metropolis and to generate a new musical culture from them. Bringing together the world of music and the modern sonic environment was one of his key objectives and led him to create an orchestra of mechanical instruments - so-called intonarumori - and to present his concept of arte dei rumori in a variety of concerts and musical soirees. Russolo's concerts and writings were widely discussed in Russia, where they fostered the development of microtonal music amongst professional composers and a materialistic conception of noise art advocated by Proletkult leaders. The substitution of conventional instrumental music with mechanical and industrial noises came to be practiced by noise orchestras and in theatrical open-air performances. Thus, the Futurist idea of joining art with life and the Marxist concept of overcoming alienation from the products of labour found a concrete realization in the musical sphere. The Futurists' desire to liberate theatre from its subservience to the written or spoken word gave rise to a number of projects in which mechanically produced noises played a key role. One of the most successful examples was the Theâtre de la Pantomime futuriste, produced by Enrico Prampolini in 1927/28, with music composed and performed by Luigi Russolo. The performances in Paris, Turin, Bergamo and Milan transported the mechanized, modern life into the world of dance and music in a suggestive and often magical manner.
噪音是现代主义艺术和文学的中心范畴，因为它构成了现代城市体验的一个组成部分，对人类的心理产生了深远的影响。它也成为音乐美学的一个重要特征。未来主义者是最早为它提供深刻理论基础的人之一。Luigi Russolo试图从自然界和大都市中发现的无限多样的声音，并从中产生一种新的音乐文化。将音乐世界和现代声音环境结合在一起是他的主要目标之一，这使他创建了一个由机械乐器组成的管弦乐队——所谓的intonarumori——并在各种音乐会和音乐晚会上展示他的arte dei rumori概念。在俄罗斯，Russolo的音乐会和作品被广泛讨论，在那里，他们促进了专业作曲家的微调性音乐的发展，以及无产阶级领导人所倡导的噪音艺术的唯物主义概念。用机械和工业噪音代替传统器乐的做法开始在噪音管弦乐队和戏剧露天表演中得到实践。因此，未来主义将艺术与生活结合起来的思想和马克思主义克服劳动产品异化的观念在音乐领域得到了具体的实现。未来主义者希望将戏剧从对书面或口头文字的屈从中解放出来，这一愿望催生了许多项目，其中机械产生的噪音发挥了关键作用。最成功的例子之一是由Enrico Prampolini于1927/28年制作的未来主义哑剧《the trede la Pantomime futuriste》，由Luigi Russolo作曲和表演。在巴黎、都灵、贝加莫和米兰的演出将机械化的现代生活以一种暗示性的、经常是神奇的方式运送到舞蹈和音乐的世界。
{"title":"Noise: A category in futurist theatre and music","authors":"G. Berghaus","doi":"10.5937/ZBAKUM1801015B","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801015B","url":null,"abstract":"Noise was a central category in Modernist art and literature as it formed an integral part of the modern urban experience and had a profound effect on the human psyche. It also became an important feature in musical aesthetics. The Futurists were amongst the first to give it a profound theoretical foundation. Luigi Russolo sought to reclaim the infinite variety of sounds found in Nature and the metropolis and to generate a new musical culture from them. Bringing together the world of music and the modern sonic environment was one of his key objectives and led him to create an orchestra of mechanical instruments - so-called intonarumori - and to present his concept of arte dei rumori in a variety of concerts and musical soirees. Russolo's concerts and writings were widely discussed in Russia, where they fostered the development of microtonal music amongst professional composers and a materialistic conception of noise art advocated by Proletkult leaders. The substitution of conventional instrumental music with mechanical and industrial noises came to be practiced by noise orchestras and in theatrical open-air performances. Thus, the Futurist idea of joining art with life and the Marxist concept of overcoming alienation from the products of labour found a concrete realization in the musical sphere. The Futurists' desire to liberate theatre from its subservience to the written or spoken word gave rise to a number of projects in which mechanically produced noises played a key role. One of the most successful examples was the Theâtre de la Pantomime futuriste, produced by Enrico Prampolini in 1927/28, with music composed and performed by Luigi Russolo. The performances in Paris, Turin, Bergamo and Milan transported the mechanized, modern life into the world of dance and music in a suggestive and often magical manner.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"60 1","pages":"15-35"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215610","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}
In the tradition of Enlightenment which we are successors of, education is constructed to quantitative knowledge, primarily to naming and attribution of things, and then to managing them. Handling terms, facts, definitions, provides one with authority and control over things. This knowledge is the result of training, not education, and as such it is no more than taking control over, even manipulating with, things. The purpose of education is not a question of progress: it leads in reverse direction, towards its original meaning of mimesis. It is in imitating, in the manner of mimesis, that we find that qualitative knowledge which determines permanently every artistic, philosophical, pedagogical and educational work.
{"title":"Strategies of imitation","authors":"M. Richter","doi":"10.5937/ZBAKUM1801036R","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801036R","url":null,"abstract":"In the tradition of Enlightenment which we are successors of, education is constructed to quantitative knowledge, primarily to naming and attribution of things, and then to managing them. Handling terms, facts, definitions, provides one with authority and control over things. This knowledge is the result of training, not education, and as such it is no more than taking control over, even manipulating with, things. The purpose of education is not a question of progress: it leads in reverse direction, towards its original meaning of mimesis. It is in imitating, in the manner of mimesis, that we find that qualitative knowledge which determines permanently every artistic, philosophical, pedagogical and educational work.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"17 1","pages":"36-45"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215663","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 paper proposes a systematic reflection on how performances embody not only propositional statements but also projections of affective worlds, trying to avoid objectification of people and feelings in favor of a movable and fluid sense of meaning. This reflection is mostly orientated to the reality of musical discourse, especially contemporary, where lack of consensus seems to abound, but it goes through all the arts that, somehow, consider the same ongoing situation in the action of performance. It starts discussing the concept of pathos in Philosophy, trying to trace its development in history, reaching its Latin form as affects. Both terms address discussions on what is know the meaning of an artistic discourse and how is possible to know that, having support in concepts such as fittingness, empathy and Stimmung, referenced by the thought of philosophers like Gilles Deleuze, Nicholas Wolterstorff, Martin Heidegger and by the ancient and retrieved art of Rhetoric.
{"title":"Affects of chaos: Rhetorical pathos and the epistemology of musical discourse","authors":"W. Teixeira, Silvio Ferraz","doi":"10.5937/ZBAKUM1801064T","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801064T","url":null,"abstract":"This paper proposes a systematic reflection on how performances embody not only propositional statements but also projections of affective worlds, trying to avoid objectification of people and feelings in favor of a movable and fluid sense of meaning. This reflection is mostly orientated to the reality of musical discourse, especially contemporary, where lack of consensus seems to abound, but it goes through all the arts that, somehow, consider the same ongoing situation in the action of performance. It starts discussing the concept of pathos in Philosophy, trying to trace its development in history, reaching its Latin form as affects. Both terms address discussions on what is know the meaning of an artistic discourse and how is possible to know that, having support in concepts such as fittingness, empathy and Stimmung, referenced by the thought of philosophers like Gilles Deleuze, Nicholas Wolterstorff, Martin Heidegger and by the ancient and retrieved art of Rhetoric.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"64-88"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215470","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}
Relationships between language and music have always been lively and dynamic, from their syncretic unity in rituals, to setting text to music, verbal accounts of musical works, musicalization of literature, to abundance of linguistic and literary metaphors in discourse about music. Both language and music unfold in time; both possess a hierarchy of elements that are combined according to a set of rules. This paper will first indicate some linguistic (primarily syntactic) concepts that inform music theory. An analogy can also be established between the Chomskyan concept of the deep structure of language and Schenkerian Ursatz. Music, however, is not always organized along the lines of syntactic hierarchy. Music is also capable of simultaneity in a way inaccessible to language. In order to negotiate this ambiguous relationship between music and language, we invoke the psychoanalytic model of the mind. It postulates that the archaic experience of the world is associated with the auditory sphere. This auditory, pre-verbal mode of conceiving the world will gradually yield to subsequent developmental phases: the visual, and then verbal communication. The deep structure of music is necessarily analogous to verbal structures. However, owing to its pre-verbal origin, music is also organized according to the more archaic modes of mental functioning. For instance: the precepts of logic do not apply; music allows condensation much more readily than language. This explains polyphony in music and imprecisions in parsing music flow into discrete units.
{"title":"Beyond music and beyond words: A psychoanalytic inquiry","authors":"M. Zatkalik, Aleksandar Kontic","doi":"10.5937/ZBAKUM1801089Z","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801089Z","url":null,"abstract":"Relationships between language and music have always been lively and dynamic, from their syncretic unity in rituals, to setting text to music, verbal accounts of musical works, musicalization of literature, to abundance of linguistic and literary metaphors in discourse about music. Both language and music unfold in time; both possess a hierarchy of elements that are combined according to a set of rules. This paper will first indicate some linguistic (primarily syntactic) concepts that inform music theory. An analogy can also be established between the Chomskyan concept of the deep structure of language and Schenkerian Ursatz. Music, however, is not always organized along the lines of syntactic hierarchy. Music is also capable of simultaneity in a way inaccessible to language. In order to negotiate this ambiguous relationship between music and language, we invoke the psychoanalytic model of the mind. It postulates that the archaic experience of the world is associated with the auditory sphere. This auditory, pre-verbal mode of conceiving the world will gradually yield to subsequent developmental phases: the visual, and then verbal communication. The deep structure of music is necessarily analogous to verbal structures. However, owing to its pre-verbal origin, music is also organized according to the more archaic modes of mental functioning. For instance: the precepts of logic do not apply; music allows condensation much more readily than language. This explains polyphony in music and imprecisions in parsing music flow into discrete units.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"89-103"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215537","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 explains the manner in which Luciano Berio treated the literary component in his composition Sequenza III. At the same time, it aims to identify models which might have inspired Berio to 'play' with the chosen poetic text. The characteristic manner in which the Italian composer dealt with words, depriving them of their status of the carrier of meaning, required other codes of communication to be included, such as emphasising the melodic-rhythmic potential of speech, as well as gesture and mimicry. Taking into account all the specifics of Berio's composition, the possibility of classifying it into the performative genre is considered.
{"title":"Musical potential of speech in Sequenza III by Luciano Berio","authors":"Jovana Ibrajter","doi":"10.5937/ZBAKUM1801135I","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801135I","url":null,"abstract":"The paper explains the manner in which Luciano Berio treated the literary component in his composition Sequenza III. At the same time, it aims to identify models which might have inspired Berio to 'play' with the chosen poetic text. The characteristic manner in which the Italian composer dealt with words, depriving them of their status of the carrier of meaning, required other codes of communication to be included, such as emphasising the melodic-rhythmic potential of speech, as well as gesture and mimicry. Taking into account all the specifics of Berio's composition, the possibility of classifying it into the performative genre is considered.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"2018 1","pages":"135-147"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71216101","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}
In the 1980s in Yugoslavia two theatre companies referred directly to historical avant-garde both aesthetically and rhetorically: Scipion Nasice Sisters Theater - founded at the beginning of 1983 in Ljubljana - by reproducing rituals and procedures of the totalitarian regime and by recycling the Slovenian national myth it converses with the softened but still solid state apparatus, and Montažstroj - founded in 1989 - by adopting rituals and procedures of football and music pop culture it corresponds with the society which has taken these phenomena into the service of increasing nationalism. The strategy of imitative exaggeration in the theoretical discourse is defined as a subversive affirmation (Sorokin, Arns), while Žižek explains its intriguing character by the strategy of high-identification (Žižek). It is still found in the script of post-Yugoslav directors who explicitly deal with nationalistic politics and their consequences; hence its efficiency will be discussed with the aid of Hannah Arendt's concept of 'two-in-one'.
{"title":"Subversions in the theatre or: Are they serious about it?","authors":"Agata Juniku","doi":"10.5937/ZBAKUM1801171J","DOIUrl":"https://doi.org/10.5937/ZBAKUM1801171J","url":null,"abstract":"In the 1980s in Yugoslavia two theatre companies referred directly to historical avant-garde both aesthetically and rhetorically: Scipion Nasice Sisters Theater - founded at the beginning of 1983 in Ljubljana - by reproducing rituals and procedures of the totalitarian regime and by recycling the Slovenian national myth it converses with the softened but still solid state apparatus, and Montažstroj - founded in 1989 - by adopting rituals and procedures of football and music pop culture it corresponds with the society which has taken these phenomena into the service of increasing nationalism. The strategy of imitative exaggeration in the theoretical discourse is defined as a subversive affirmation (Sorokin, Arns), while Žižek explains its intriguing character by the strategy of high-identification (Žižek). It is still found in the script of post-Yugoslav directors who explicitly deal with nationalistic politics and their consequences; hence its efficiency will be discussed with the aid of Hannah Arendt's concept of 'two-in-one'.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"12 1","pages":"171-186"},"PeriodicalIF":0.0,"publicationDate":"2018-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71216252","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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