The paper illuminates some of the principles by which Helmut Newton's photographic poetics functions. It is examined from the perspectives of recent art history, feminist critique and psychoanalytic theory. His photographs came to a standstill not far from pornography, yet they stayed within the jet-set community, reflecting at the same time the sexual revolution in the 60s and 70s of the twentieth century and the rising of the fashion and film industries and other Western emancipatory movements. Newton's obscure photojournalism provoked conventions, presenting the female body as a fetish and object of erotic pleasure, affirming, nonetheless, a new feminine self-consciousness and freedom. Thus, he constituted modern eroticism by connecting fetishism, voyeurism and sadomasochism, creating a provocative hybrid photography that embraced fashion, eroticism and portrait, hence documenting, in highly stylistic manner, the decadency and eccentricity of the lifestyle of the rich.
{"title":"Female body as a fetish in Helmut Newton's photography","authors":"Katarina Pantović","doi":"10.5937/ZbAkUm1705089P","DOIUrl":"https://doi.org/10.5937/ZbAkUm1705089P","url":null,"abstract":"The paper illuminates some of the principles by which Helmut Newton's photographic poetics functions. It is examined from the perspectives of recent art history, feminist critique and psychoanalytic theory. His photographs came to a standstill not far from pornography, yet they stayed within the jet-set community, reflecting at the same time the sexual revolution in the 60s and 70s of the twentieth century and the rising of the fashion and film industries and other Western emancipatory movements. Newton's obscure photojournalism provoked conventions, presenting the female body as a fetish and object of erotic pleasure, affirming, nonetheless, a new feminine self-consciousness and freedom. Thus, he constituted modern eroticism by connecting fetishism, voyeurism and sadomasochism, creating a provocative hybrid photography that embraced fashion, eroticism and portrait, hence documenting, in highly stylistic manner, the decadency and eccentricity of the lifestyle of the rich.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"89-99"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215022","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}
Bach's work The Art of Fugue, which consists of 14 fugues and 4 canons, represents a specific contrapuntal cycle: all the themes it is build on are based on a transformation of a single opening theme. The work was composed as Bach's final offer for a membership in Mizler's society of artists. Historical data about the society, as well as the fact that Bach dealt with the problem area of temperament, point to his understanding of Pythagorean doctrine. This leads to the hypothesis about the symbolic content of the piece. The paper determines a parallel between this Bach's cycle and the renaissance idea of 'change' (this idea is an interpretation of a mysterious archaic text written on 13 emerald tablets24). The symbolics of this Bach's piece is recognised as a demonstration of understanding the 'secret of creativity'.
{"title":"Symbolics of Bach's the art of fugue","authors":"Svetlana Stojanović-Kutlača","doi":"10.5937/ZbAkUm1705142S","DOIUrl":"https://doi.org/10.5937/ZbAkUm1705142S","url":null,"abstract":"Bach's work The Art of Fugue, which consists of 14 fugues and 4 canons, represents a specific contrapuntal cycle: all the themes it is build on are based on a transformation of a single opening theme. The work was composed as Bach's final offer for a membership in Mizler's society of artists. Historical data about the society, as well as the fact that Bach dealt with the problem area of temperament, point to his understanding of Pythagorean doctrine. This leads to the hypothesis about the symbolic content of the piece. The paper determines a parallel between this Bach's cycle and the renaissance idea of 'change' (this idea is an interpretation of a mysterious archaic text written on 13 emerald tablets24). The symbolics of this Bach's piece is recognised as a demonstration of understanding the 'secret of creativity'.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"142-159"},"PeriodicalIF":0.0,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214901","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 goal of the study is to give an overview of the characteristics of modern and postmodern film from 1950 to present day. Modernist films are pronouncedly constructed, full of interruptions, and visible seams in the storytelling process; they consist of poetical charges, individual poetics, and sudden cuts; they are directed towards the exploration of feelings rather than towards the presentation of the story; they can be realistic, theatrical, and minimalistic in form. Postmodernist film, created in the 1970s, developed from modernistic strategies; focuses on generating a discourse; has a tendency towards mainstream (commercial); there are also the less noticeable (by the rule non-commercial), which continue the tradition of artistic film; has a stronghold in documentary film, essayism, significant questions of identity, Otherness, gender, race, class; always implying some kind of recapitulation or rapture with the past, with an ideology.
{"title":"Modern and postmodern European film","authors":"Ivana Battista-Keser","doi":"10.5937/ZBAKUM1604220B","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604220B","url":null,"abstract":"The goal of the study is to give an overview of the characteristics of modern and postmodern film from 1950 to present day. Modernist films are pronouncedly constructed, full of interruptions, and visible seams in the storytelling process; they consist of poetical charges, individual poetics, and sudden cuts; they are directed towards the exploration of feelings rather than towards the presentation of the story; they can be realistic, theatrical, and minimalistic in form. Postmodernist film, created in the 1970s, developed from modernistic strategies; focuses on generating a discourse; has a tendency towards mainstream (commercial); there are also the less noticeable (by the rule non-commercial), which continue the tradition of artistic film; has a stronghold in documentary film, essayism, significant questions of identity, Otherness, gender, race, class; always implying some kind of recapitulation or rapture with the past, with an ideology.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"220-232"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71215164","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 study presented in this paper aims to investigate the nature of correlations between personality traits of the viewer and his various psychological motives which derive satisfaction from certain kinds of film content. The sample comprised 511 students at the University of Novi Sad and three instruments were used: Uses of Film Inventory (UFI), Reinforcement Sensitivity Questionnaire (RSQ) and the Sensation Seeking Scale (SSS-V). The acquired results indicate the possibility of predicting the motivation for watching films based on personality traits. Negative Emotionalism, Impulsiveness and Reaction to Awards indicate a correlation with two components of motivation for watching films called Emotional Stimulation and Stimulation by Violent Contents. It is possible to predict Intellectual Stimulation during film viewing only in relation to Negative Emotionalism, while the predictive model was not proven to be significant regarding Social Stimulation in the context of film viewing.
{"title":"Correlations between personality traits and motivation for watching films","authors":"Jasmina Pekić, Ilija Milovanović","doi":"10.5937/ZBAKUM1604076P","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604076P","url":null,"abstract":"The study presented in this paper aims to investigate the nature of correlations between personality traits of the viewer and his various psychological motives which derive satisfaction from certain kinds of film content. The sample comprised 511 students at the University of Novi Sad and three instruments were used: Uses of Film Inventory (UFI), Reinforcement Sensitivity Questionnaire (RSQ) and the Sensation Seeking Scale (SSS-V). The acquired results indicate the possibility of predicting the motivation for watching films based on personality traits. Negative Emotionalism, Impulsiveness and Reaction to Awards indicate a correlation with two components of motivation for watching films called Emotional Stimulation and Stimulation by Violent Contents. It is possible to predict Intellectual Stimulation during film viewing only in relation to Negative Emotionalism, while the predictive model was not proven to be significant regarding Social Stimulation in the context of film viewing.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"76-93"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214819","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 theatre, the commemoration of the centenary of the beginning of the Great War was marked by the appearance of theatrical presentations of history and the search for dramatistic answers to interpreting the reason and cause of the First World War. The paper offers an overview of dramatic tradition of the plays written and performed on the topic of the First World War in the theatres in Serbia and Bosnia and Herzegovina, and an overview of the plays staged to commemorate a century of the beginning of the Great War. The focus is on the authorial project by a Belgrade director Ana Đorđevic, Fourteen in the production of the National Theatre of the Republika Srpska in Banja Luka, which opened the theatrical season of performances about crucial events of the twentieth century. Dramatizing Vladimir Dedijer's book Sarajevo 1914 (Belgrade, 1966), the author starts from a complex source of materials rich in factual data, dates, places, individuals, events, phenomena, citations and testimonies and using the language of the scene, she analyzes the events from various points of view.
{"title":"Theatrical presentation of history: Fourteen: Searching for the answers","authors":"Nataša Glišić","doi":"10.5937/ZbAkUm1604179G","DOIUrl":"https://doi.org/10.5937/ZbAkUm1604179G","url":null,"abstract":"In theatre, the commemoration of the centenary of the beginning of the Great War was marked by the appearance of theatrical presentations of history and the search for dramatistic answers to interpreting the reason and cause of the First World War. The paper offers an overview of dramatic tradition of the plays written and performed on the topic of the First World War in the theatres in Serbia and Bosnia and Herzegovina, and an overview of the plays staged to commemorate a century of the beginning of the Great War. The focus is on the authorial project by a Belgrade director Ana Đorđevic, Fourteen in the production of the National Theatre of the Republika Srpska in Banja Luka, which opened the theatrical season of performances about crucial events of the twentieth century. Dramatizing Vladimir Dedijer's book Sarajevo 1914 (Belgrade, 1966), the author starts from a complex source of materials rich in factual data, dates, places, individuals, events, phenomena, citations and testimonies and using the language of the scene, she analyzes the events from various points of view.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"179-192"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214716","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}
It is possible, perhaps, to choose the right path to the answer to the questions how poetry has been disappearing over the centuries and has lost its purpose in the ever greater void of outer space and how it has turned from a common and welcome social activity into a phenomenon that will have to leave its fellow-townspeople due to enormous suspicion about the communal language, the world view of the majority and the material world, if first, (at least) a rough reconstruction of the sense and nature of continual changes in the poetic mechanism has been done (a more detailed overview would extend the paper enormously), as well as of the changes in style and the reception of poetry, since each choice of a possible linguistic system in a particular historical period soon heralded its own boundary line. From a popular, entertaining and educational genre as a transparent means of social communication, which has brought the individual into a community by generating stable certainty, and gave him the sense of control over his own destiny and meaning, lyrics will outgrow proportionally the aesthetic dimensions of its texts (which will subsequently substitute the foretoken of literacy), becoming less comparable and surmountable, in certain periods almost a nontransferable artistic view. In such circumstances, the public will start to have less understanding and tolerance for its 'weaknesses'.
{"title":"Challenges in the interpretation of lyric texts","authors":"Ivana Buljan-Legati","doi":"10.5937/ZbAkUm1604168B","DOIUrl":"https://doi.org/10.5937/ZbAkUm1604168B","url":null,"abstract":"It is possible, perhaps, to choose the right path to the answer to the questions how poetry has been disappearing over the centuries and has lost its purpose in the ever greater void of outer space and how it has turned from a common and welcome social activity into a phenomenon that will have to leave its fellow-townspeople due to enormous suspicion about the communal language, the world view of the majority and the material world, if first, (at least) a rough reconstruction of the sense and nature of continual changes in the poetic mechanism has been done (a more detailed overview would extend the paper enormously), as well as of the changes in style and the reception of poetry, since each choice of a possible linguistic system in a particular historical period soon heralded its own boundary line. From a popular, entertaining and educational genre as a transparent means of social communication, which has brought the individual into a community by generating stable certainty, and gave him the sense of control over his own destiny and meaning, lyrics will outgrow proportionally the aesthetic dimensions of its texts (which will subsequently substitute the foretoken of literacy), becoming less comparable and surmountable, in certain periods almost a nontransferable artistic view. In such circumstances, the public will start to have less understanding and tolerance for its 'weaknesses'.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"168-178"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214845","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 analysis of mutual dependence of historical compositional, historical interpretative practice and the properties of historical instruments is essential for baroque style revival. The Baroque music epoch is dominated by the neo-Platonic idea of the ability of music to demonstrate harmony in cosmos, human society and nature. The three basic principles of baroque music, improvisation, ornamentation and polyphony, are all rooted in the idea of music harmony, whose 'key' has been hidden in figured (thorough) bass. Reconsideration of the Italian, French and German baroque music reveals various concepts of universal harmony, and different ways of its reflections in music. Baroque music revival reconsiders the ancient question of the role of music in society and the interpreter's power. The true value of historical interpretative practice revival is seen as revitalization of the musician's freedom, creativity and inspiration in the improvisation practice.
{"title":"Principles of baroque music: Improvisation, ornamentation, polyphony","authors":"Svetlana Stojanović-Kutlača","doi":"10.5937/ZbAkUm1604122S","DOIUrl":"https://doi.org/10.5937/ZbAkUm1604122S","url":null,"abstract":"The analysis of mutual dependence of historical compositional, historical interpretative practice and the properties of historical instruments is essential for baroque style revival. The Baroque music epoch is dominated by the neo-Platonic idea of the ability of music to demonstrate harmony in cosmos, human society and nature. The three basic principles of baroque music, improvisation, ornamentation and polyphony, are all rooted in the idea of music harmony, whose 'key' has been hidden in figured (thorough) bass. Reconsideration of the Italian, French and German baroque music reveals various concepts of universal harmony, and different ways of its reflections in music. Baroque music revival reconsiders the ancient question of the role of music in society and the interpreter's power. The true value of historical interpretative practice revival is seen as revitalization of the musician's freedom, creativity and inspiration in the improvisation practice.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"39 1","pages":"122-132"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214450","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 well-known wedding song 'Odbi se grana od jorgovana' dates back to 1815 when it was recorded by Franciszek Mirecki. It was sung to him by a woman who was Vuk Stefanovic Karadžic's informant (Devic, 1991: 129). Specific in its character and melodic pattern, the wedding song held an important position in the wedding ceremony of native Serbs in the region of present-day Vojvodina. In the year of 2015 it had been exactly two hundred years since it was first notated.
著名的婚礼歌曲“Odbi se grana od jorgovana”可以追溯到1815年，当时它是由Franciszek Mirecki录制的。这首歌是由Vuk Stefanovic Karadžic的线人唱给他听的(Devic, 1991: 129)。这首婚礼歌在今天伏伊伏丁那地区的塞尔维亚人的婚礼仪式中占有重要的地位，其特点和旋律模式都很特殊。到2015年，距离它第一次被记录下来正好200年。
{"title":"A short note from the history of traditional music of the Serbs in Vojvodina: To mark two hundred years of the first recorded wedding song","authors":"Vesna Karin","doi":"10.5937/ZBAKUM1604145K","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604145K","url":null,"abstract":"The well-known wedding song 'Odbi se grana od jorgovana' dates back to 1815 when it was recorded by Franciszek Mirecki. It was sung to him by a woman who was Vuk Stefanovic Karadžic's informant (Devic, 1991: 129). Specific in its character and melodic pattern, the wedding song held an important position in the wedding ceremony of native Serbs in the region of present-day Vojvodina. In the year of 2015 it had been exactly two hundred years since it was first notated.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"145-152"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214610","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 presents less known data about the conditions in which the most successful animated films in the production of Neoplanta Film were created in the period between 1969 and mid 1972. Further, it analyzes the crucial events that led to the change of the management, as well as the dimensions of political persecution which was the reason for the most prominent creators to cease working.
{"title":"The greatest achievements of the animated movies of neoplanta film","authors":"S. Radakovic","doi":"10.5937/ZBAKUM1604245R","DOIUrl":"https://doi.org/10.5937/ZBAKUM1604245R","url":null,"abstract":"The paper presents less known data about the conditions in which the most successful animated films in the production of Neoplanta Film were created in the period between 1969 and mid 1972. Further, it analyzes the crucial events that led to the change of the management, as well as the dimensions of political persecution which was the reason for the most prominent creators to cease working.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"245-260"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71214874","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 point to two fundamentally different strategies of painting practice, that is, to two subsystems of painting: picture and painting. This differentiation can be made within the framework of semiotic and semiological analyses which have developed in theory under the influence of structuralism. The first part of the paper offers a basic insight into the linguistic foundation of structuralistic concept, and then sets a thesis about the possibility of analogue reconceptualisation of semiotics/semiology of painting through Julia Kristeva's semiotics and Roland Barthes' semiology. In addition, it points to the concrete concepts of structural analysis which have accentuated the opposition picture-painting with the examples of art practice concurrent to the development of structuralism. However, what is revealed is that various structuralist readings are significantly subjective to unstable relationship between the basic elements in the pictorial object, that is, in the work of painting.
{"title":"Structuralist readings: Painting vs. picture","authors":"Lidija Marinkov-Pavlović","doi":"10.5937/ZbAkUm1604066M","DOIUrl":"https://doi.org/10.5937/ZbAkUm1604066M","url":null,"abstract":"The aim of the paper is to point to two fundamentally different strategies of painting practice, that is, to two subsystems of painting: picture and painting. This differentiation can be made within the framework of semiotic and semiological analyses which have developed in theory under the influence of structuralism. The first part of the paper offers a basic insight into the linguistic foundation of structuralistic concept, and then sets a thesis about the possibility of analogue reconceptualisation of semiotics/semiology of painting through Julia Kristeva's semiotics and Roland Barthes' semiology. In addition, it points to the concrete concepts of structural analysis which have accentuated the opposition picture-painting with the examples of art practice concurrent to the development of structuralism. However, what is revealed is that various structuralist readings are significantly subjective to unstable relationship between the basic elements in the pictorial object, that is, in the work of painting.","PeriodicalId":31481,"journal":{"name":"Zbornik Radova Akademije Umetnosti","volume":"1 1","pages":"66-75"},"PeriodicalIF":0.0,"publicationDate":"2016-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"71213910","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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