Dopadljive antropomorfne životinje zacijelo su jedno od najprepoznatljivijih obilježja animiranih filmova američkog studija Walt Disney. Snjeguljica i sedam patuljaka (1937.), prvi cjelovečernji animirani Disneyjev film, uz naslovne likove uključuje i niz dobroćudnih šumskih životinja koje pomažu junakinji, štiteći je i obavljajući kućanske poslove. S obzirom na golem uspjeh Snjeguljice, motiv životinjskih pomagača iskorišten je i u narednim filmovima, te s vremenom postaje neizostavan dio Disneyjevog repertoara. U istraživačkom fokusu ovoga rada upravo su životinjski likovi (tj. likovi ne-ljudskih životinja) u dugometražnim animiranim Disneyjevim filmovima. Korpus istraživanja obuhvaća 48 filmova nastalih u razdoblju od 1937. do 2019. godine. Oslanjajući se na kulturnu animalistiku i postojeća interdisciplinarna istraživanja Disneyjeve animirane produkcije (tzv. Disney studies), rad analizira prikaze životinjskih likova, napose njihovu antropomorfizaciju i način na koji je njihov status protagonista/antagonista vizualno kodiran, te odnos ljudskih i životinjskih likova. Rezultati istraživanja upućuju na dominantno antropocentričnu perspektivu analiziranih filmova.
{"title":"Disneyjevi animirani antropomorfi","authors":"Nada Kujundžić","doi":"10.15176/vol57no203","DOIUrl":"https://doi.org/10.15176/vol57no203","url":null,"abstract":"Dopadljive antropomorfne životinje zacijelo su jedno od najprepoznatljivijih obilježja animiranih filmova američkog studija Walt Disney. Snjeguljica i sedam patuljaka (1937.), prvi cjelovečernji animirani Disneyjev film, uz naslovne likove uključuje i niz dobroćudnih šumskih životinja koje pomažu junakinji, štiteći je i obavljajući kućanske poslove. S obzirom na golem uspjeh Snjeguljice, motiv životinjskih pomagača iskorišten je i u narednim filmovima, te s vremenom postaje neizostavan dio Disneyjevog repertoara. U istraživačkom fokusu ovoga rada upravo su životinjski likovi (tj. likovi ne-ljudskih životinja) u dugometražnim animiranim Disneyjevim filmovima. Korpus istraživanja obuhvaća 48 filmova nastalih u razdoblju od 1937. do 2019. godine. Oslanjajući se na kulturnu animalistiku i postojeća interdisciplinarna istraživanja Disneyjeve animirane produkcije (tzv. Disney studies), rad analizira prikaze životinjskih likova, napose njihovu antropomorfizaciju i način na koji je njihov status protagonista/antagonista vizualno kodiran, te odnos ljudskih i životinjskih likova. Rezultati istraživanja upućuju na dominantno antropocentričnu perspektivu analiziranih filmova.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45903959","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 present discourse concerning asylum and irregular migration, with all its concepts and institutions, techniques and code of conduct, was introduced in the Republic of Serbia through the EU Accession process. As a prerequisite for visa liberalization with the EU (achieved in 2009), Serbia signed readmission agreements with the EU and its member-states and adopted the Asylum Law (Zakon o azilu 2007) and the Law on Foreigners (Zakon o strancima 2008). However, related notions and legal instruments existed in the periods that preceded it. In this text I offer a diachronic overview of conceptual and procedural differences and discuss their entanglements, merging, spilling over and confrontation. In such a way, my aim is to point out their use as political statements in particular, as performatives affecting national and international political contexts.
目前关于庇护和非正常移徙的论述及其所有概念和体制、技术和行为守则都是塞尔维亚共和国通过加入欧盟的进程引进的。作为与欧盟实现签证自由化的先决条件(2009年实现)，塞尔维亚与欧盟及其成员国签署了重新接纳协议，并通过了《庇护法》(Zakon o azilu 2007)和《外国人法》(Zakon o strancima 2008)。但是，在此之前的时期就存在有关的概念和法律文书。在本文中，我提供了概念和程序差异的历时性概述，并讨论了它们的纠缠，合并，溢出和对抗。通过这种方式，我的目的是指出它们作为政治声明的用途，特别是作为影响国家和国际政治背景的行为体。
{"title":"Izbeglice (Refugees), azilanti (Asylum Seekers) and ilegalni migranti (Illegal Migrants) in Administrative and Public Discourse in Serbia","authors":"Marta Stojic Mitrovic","doi":"10.15176/vol57no208","DOIUrl":"https://doi.org/10.15176/vol57no208","url":null,"abstract":"The present discourse concerning asylum and irregular migration, with all its concepts and institutions, techniques and code of conduct, was introduced in the Republic of Serbia through the EU Accession process. As a prerequisite for visa liberalization with the EU (achieved in 2009), Serbia signed readmission agreements with the EU and its member-states and adopted the Asylum Law (Zakon o azilu 2007) and the Law on Foreigners (Zakon o strancima 2008). However, related notions and legal instruments existed in the periods that preceded it. In this text I offer a diachronic overview of conceptual and procedural differences and discuss their entanglements, merging, spilling over and confrontation. In such a way, my aim is to point out their use as political statements in particular, as performatives affecting national and international political contexts.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48633078","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 focuses on a specific type of archival material from the first psychiatric institution in Croatia, the Stenjevec Royal National Institute for the Insane in Zagreb, today the Vrapče University Psychiatric Hospital, dating from the period from its foundation in 1879 until 1900. More specifically, it focuses on patient narratives featuring fantastical beings, i.e., narrations about their life relying on the genre of belief legends. Based on this material, which is considered to be an important albeit atypical folkloristic corpus, the paper analyzes and interprets the status and functions of the genre of belief legends (more specifically, the memorate) in daily life narratives, personal stories and in coding affects (primarily fear). The role of belief legends is examined not only from the perspective of oral tradition and literature, but also in terms of their social and psychological position, and through the lens of psychiatric discourse of the time, which recognizes such narratives merely as symptoms of madness, translating and coding them as the language of abnormality and psychopathology.
{"title":"Cultural Codes of Fear","authors":"Nataša Polgar","doi":"10.15176/vol57no201","DOIUrl":"https://doi.org/10.15176/vol57no201","url":null,"abstract":"This paper focuses on a specific type of archival material from the first psychiatric institution in Croatia, the Stenjevec Royal National Institute for the Insane in Zagreb, today the Vrapče University Psychiatric Hospital, dating from the period from its foundation in 1879 until 1900. More specifically, it focuses on patient narratives featuring fantastical beings, i.e., narrations about their life relying on the genre of belief legends. Based on this material, which is considered to be an important albeit atypical folkloristic corpus, the paper analyzes and interprets the status and functions of the genre of belief legends (more specifically, the memorate) in daily life narratives, personal stories and in coding affects (primarily fear). The role of belief legends is examined not only from the perspective of oral tradition and literature, but also in terms of their social and psychological position, and through the lens of psychiatric discourse of the time, which recognizes such narratives merely as symptoms of madness, translating and coding them as the language of abnormality and psychopathology.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43151416","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}
U radu se razmatraju pozitivni odnosi prema Drugom u ljubavnim i svadbenim usmenim lirskim pesmama na južnoslovenskom prostoru. Usmena lirika modeluje odnose prema Drugom kao dinamične, određene relacijama stranosti i bliskosti. Zavisno od perspektive, značenja se nijansiraju: Drugi je neko ko izaziva interesovanje, ko budi želju (iskazanu kroz erotske igre, realizovanu u erotskom susretu ili snažnu želju koja prevazilazi odbijanja ili granice između svog i tuđeg) i s kim se uspostavlja bračna veza. Drugi je ambivalentan kao moćan i ugrožen, ali i kao biće u graničnoj (predsvadbenoj) situaciji. Kontrast sa svojim zaoštrava se tokom svadbe, kada je Drugi željeni mladoženja (ili željena nevesta), a susret s njim znak je prelaska iz jedne životne faze u narednu, odvajanje od svoje porodice i ulazak u novu. Muški tekst svadbenih pesama odnos prema Drugom označava prisvajanjem mlade. Široki raspon značenja od erotske igre do prisvajanja pokazuje da usmena lirika, prateći složena emotivna stanja ljudi, peva o poželjnom Drugom na različite načine, ali uvek sa svešću o nužnosti veze sa njim i prekoračenja granice svog i tuđeg.
{"title":"Poželjni Drugi","authors":"Ana Vukmanović","doi":"10.15176/vol57no202","DOIUrl":"https://doi.org/10.15176/vol57no202","url":null,"abstract":"U radu se razmatraju pozitivni odnosi prema Drugom u ljubavnim i svadbenim usmenim lirskim pesmama na južnoslovenskom prostoru. Usmena lirika modeluje odnose prema Drugom kao dinamične, određene relacijama stranosti i bliskosti. Zavisno od perspektive, značenja se nijansiraju: Drugi je neko ko izaziva interesovanje, ko budi želju (iskazanu kroz erotske igre, realizovanu u erotskom susretu ili snažnu želju koja prevazilazi odbijanja ili granice između svog i tuđeg) i s kim se uspostavlja bračna veza. Drugi je ambivalentan kao moćan i ugrožen, ali i kao biće u graničnoj (predsvadbenoj) situaciji. Kontrast sa svojim zaoštrava se tokom svadbe, kada je Drugi željeni mladoženja (ili željena nevesta), a susret s njim znak je prelaska iz jedne životne faze u narednu, odvajanje od svoje porodice i ulazak u novu. Muški tekst svadbenih pesama odnos prema Drugom označava prisvajanjem mlade. Široki raspon značenja od erotske igre do prisvajanja pokazuje da usmena lirika, prateći složena emotivna stanja ljudi, peva o poželjnom Drugom na različite načine, ali uvek sa svešću o nužnosti veze sa njim i prekoračenja granice svog i tuđeg.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49531075","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}
Rad nudi uvid u istraživanje nezavisnih glazbenih praksi u kontekstu društvenih zajednica promatranih kroz teorijsko-interpretativni okvir scene. S naglaskom usmjerenim lokalnoj interpretaciji stvaranja, izvedbe i potrošnje kantautorske glazbe, razmatra jednu od tvorbenih konvencija ugrađenih u suvremenu kantautorsku scenu u Zagrebu: svestranost glazbenika i preuzimanje inicijative primjenom do-it-yourself (DIY) načela, poetika i estetika. Osim u samom stvaralačkom i izvođačkom procesu, moguće ih je detektirati i na polju promocije i izdavaštva, a upravo otisci njihove primjene nude mogućnost ocrtavanja skice razvoja suvremene kantautorske scene u Zagrebu. Pregledom kroz neke od formativnih DIY programa i projekata koji su poslužili kao platforma za promoviranje glazbenika te njihovo međusobno povezivanje, rad donosi primjere primjenjivosti DIY koncepata te propituje razloge opiranja kantautora ustaljenim obrascima stvaranja i potrošnje popularne glazbe, kao i pojedinim općim društvenim i ekonomskim uzusima.
这部作品通过理论解释场景观察到了社会社区背景下的独立音乐实践。强调了当地对乡村音乐创作、表演和消费的诠释，考虑到了萨格勒布当代乡村场景中建立的惯例之一：音乐家的独立性和采用自己动手（DIY）原则、诗歌和美学主动性。除了创作和生产过程之外，在推广和出版领域也可以发现它们，它们的使用现在可以在萨格勒布目前的粤语场景绘画中使用。Pregledom kroz neke组织了一个DIY计划，我的项目是koji su poslužili kao platforma za promoviranje glazbenika te njihovo meŞusobno povezivanje，rad donosi primjere primjenjivosti DIY koncepata te propituje razloge opiranja kantautora ustaljenim obrascima stvaranja i potrošnje popular ne glazbe，kao i pojedinim općim društvenim i ekonomicskim uzusima。
{"title":"“Tko će, ako ne mi sami?”","authors":"Tanja Halužan","doi":"10.15176/vol57no205","DOIUrl":"https://doi.org/10.15176/vol57no205","url":null,"abstract":"Rad nudi uvid u istraživanje nezavisnih glazbenih praksi u kontekstu društvenih zajednica promatranih kroz teorijsko-interpretativni okvir scene. S naglaskom usmjerenim lokalnoj interpretaciji stvaranja, izvedbe i potrošnje kantautorske glazbe, razmatra jednu od tvorbenih konvencija ugrađenih u suvremenu kantautorsku scenu u Zagrebu: svestranost glazbenika i preuzimanje inicijative primjenom do-it-yourself (DIY) načela, poetika i estetika. Osim u samom stvaralačkom i izvođačkom procesu, moguće ih je detektirati i na polju promocije i izdavaštva, a upravo otisci njihove primjene nude mogućnost ocrtavanja skice razvoja suvremene kantautorske scene u Zagrebu. Pregledom kroz neke od formativnih DIY programa i projekata koji su poslužili kao platforma za promoviranje glazbenika te njihovo međusobno povezivanje, rad donosi primjere primjenjivosti DIY koncepata te propituje razloge opiranja kantautora ustaljenim obrascima stvaranja i potrošnje popularne glazbe, kao i pojedinim općim društvenim i ekonomskim uzusima.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46064166","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 deals with the processes of transformation of an urban festival – the Radvaň Fair in the city of Banská Bystrica, Slovakia – in a comprehensive way and from a chronological point of view. The main focus is on the development of the festival in the post-1989 (post-communist) period. The fair has been organised continuously since 1655 and went through a number of transformations. Its function has changed from a primarily commercial event of three centuries to a significant cultural and social hallmark festival in the 21st century. The key research questions concern the role of cultural heritage-based festival in identity building and city marketing, and the relationship between the festival and place (location). The paper also addresses the question of potential use/misuse of cultural heritage in current political discourse and practice.
{"title":"Cultural Heritage-Based Urban Festival as a Tool to Promote Local Identity and City Marketing","authors":"A. Bitušíková","doi":"10.15176/vol57no207","DOIUrl":"https://doi.org/10.15176/vol57no207","url":null,"abstract":"This paper deals with the processes of transformation of an urban festival – the Radvaň Fair in the city of Banská Bystrica, Slovakia – in a comprehensive way and from a chronological point of view. The main focus is on the development of the festival in the post-1989 (post-communist) period. The fair has been organised continuously since 1655 and went through a number of transformations. Its function has changed from a primarily commercial event of three centuries to a significant cultural and social hallmark festival in the 21st century. The key research questions concern the role of cultural heritage-based festival in identity building and city marketing, and the relationship between the festival and place (location). The paper also addresses the question of potential use/misuse of cultural heritage in current political discourse and practice.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47246431","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 deals with multimodal metaphors as the basis of parodic integration in selected videos and album covers by rap artist Krešo Bengalka and his band Kiša metaka. The case studies of parodic integration are marked by a spectacle that significantly contributes to the blend. The study focuses on multimodal integration and disintegration and on the reversal of the conventional way of representing both the relation between the interior and exterior and the relation between the static and the dynamic.
{"title":"Multimodal Metaphor as the Source of Parodic Integration in Hip Hop Music Videos","authors":"Gordana Čupković, Silvana Dunat","doi":"10.15176/vol57no204","DOIUrl":"https://doi.org/10.15176/vol57no204","url":null,"abstract":"This paper deals with multimodal metaphors as the basis of parodic integration in selected videos and album covers by rap artist Krešo Bengalka and his band Kiša metaka. The case studies of parodic integration are marked by a spectacle that significantly contributes to the blend. The study focuses on multimodal integration and disintegration and on the reversal of the conventional way of representing both the relation between the interior and exterior and the relation between the static and the dynamic.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44450526","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}
Although leisure and idleness are promoted as a panacea for the problems of postmodern man, everyday logic of postindustrial societies is still subjected to the logic of “total work”. Throughout modernism, the discourse of leisure allowed for a certain separation of the worker from the work regime. However, this discourse lost its function in postmodernism due to the contemporary erasure of boundaries between life, work, and the self. The disappearance of these boundaries, due to technological development and newer forms of work organization, is an important element on the basis of which the contemporary middle class gradually assumes the position of the former working class within the system. Thus, it can be concluded that the fundamental way in which the avoidance of the world of total work is possible today is not leisure, free, fulfilled, and meaningful time, but shallow loafing, a stolen free moment otherwise scheduled for work.
{"title":"Leisure, Loafing, and Life as Work","authors":"Petar Bagarić","doi":"10.15176/vol57no106","DOIUrl":"https://doi.org/10.15176/vol57no106","url":null,"abstract":"Although leisure and idleness are promoted as a panacea for the problems of postmodern man, everyday logic of postindustrial societies is still subjected to the logic of “total work”. Throughout modernism, the discourse of leisure allowed for a certain separation of the worker from the work regime. However, this discourse lost its function in postmodernism due to the contemporary erasure of boundaries between life, work, and the self. The disappearance of these boundaries, due to technological development and newer forms of work organization, is an important element on the basis of which the contemporary middle class gradually assumes the position of the former working class within the system. Thus, it can be concluded that the fundamental way in which the avoidance of the world of total work is possible today is not leisure, free, fulfilled, and meaningful time, but shallow loafing, a stolen free moment otherwise scheduled for work.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.15176/vol57no106","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49663716","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 engages with conceptual constellations which allow a contemporary postdramatic theatre production, specifically Socìetas Raffaello Sanzio’s theatrical series Tragedia Endogonidia (2002 – 2004) to be regarded as a tragedy or a series of tragedies. Particular emphasis is given to the role of fear in understanding Tragedia Endogonidia as a tragedy. My claim is that Tragedia Endogonidia contributed to the modification of contemporary understanding of tragedy to, at the same time, a more abstract and a more explicitly material one, where the anchoring of the tragic into a concrete human destiny and the resolution of a plot is replaced by “plotting of the sensorial” or “plotting of the image”, driven by anticipation directly related to an unspecified feeling of discomfort and fear.
{"title":"Postdramatic Tragedy and Fear","authors":"Una Bauer","doi":"10.15176/VOL57NO110","DOIUrl":"https://doi.org/10.15176/VOL57NO110","url":null,"abstract":"This article engages with conceptual constellations which allow a contemporary postdramatic theatre production, specifically Socìetas Raffaello Sanzio’s theatrical series Tragedia Endogonidia (2002 – 2004) to be regarded as a tragedy or a series of tragedies. Particular emphasis is given to the role of fear in understanding Tragedia Endogonidia as a tragedy. My claim is that Tragedia Endogonidia contributed to the modification of contemporary understanding of tragedy to, at the same time, a more abstract and a more explicitly material one, where the anchoring of the tragic into a concrete human destiny and the resolution of a plot is replaced by “plotting of the sensorial” or “plotting of the image”, driven by anticipation directly related to an unspecified feeling of discomfort and fear.","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.15176/VOL57NO110","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46982350","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 problematizes the subversive icon of pregnancy and offers a linear overview of its various iterations in juxtaposition to the culture of fear, starting with Vlasta Delimar, whose installation Pregnancy (Trudnoća, 1987), inscribes her in the feminist and women’s art history of the Yugoslav/Croatian context as the first domestic artist who employed photo-documentation, or photo-performance, to document her own pregnancy. She performed her pregnancy in the manner of a goddess, sexualizing it by means of the Baubo pose. Next, the paper addresses the interpretations of the subversion achieved by the pregnant belly in Sanja Iveković’s work Lady Rosa of Luxembourg (2001). The sequence is further contextualized by the distressing confessional of Martina Križanić, a younger generation artist, who visualized the subversive representation of motherhood (Changing Booths, installation, 2017) from her own perspective and without fear, in the first local exhibition about pregnancy Woman – Pregnant Woman – Mother: Green Spheres and Necropolitics (Žena – trudnica – majka: zelene sfere i nekropolitike, Vladimir Bužančić Gallery, Zagreb 2017, curated by Anita Zlomislić).
本文对怀孕的颠覆性标志提出了问题，并对其与恐惧文化并置的各种迭代进行了线性概述，首先是Vlasta Delimar，她的装置作品《怀孕》(Trudnoća, 1987)，将她作为第一位使用照片记录或照片表演来记录自己怀孕的国内艺术家，列入南斯拉夫/克罗地亚背景下的女权主义和女性艺术史。她以女神的方式表现了她的怀孕，通过波波姿势使其性感。其次，本文探讨了对伊维科维奇的作品《卢森堡的罗莎夫人》(2001)中怀孕的肚子所实现的颠覆的解释。这个系列进一步被年轻一代艺术家玛蒂娜Križanić的痛苦忏悔所背景化，她从自己的角度毫无畏惧地将母性的颠覆性表现可视化(Changing booth，装置，2017)，在当地第一个关于孕妇的展览中-孕妇-母亲:绿色球体和Necropolitics (Žena - trudnica - majka: zelene sere i nekropolitike, Vladimir Bužančić画廊，萨格勒布，2017年，由Anita zlomisliki策划)。
{"title":"The Subversive Icon of Pregnancy in Opposition to the Culture of Fear","authors":"Suzana Marjanić","doi":"10.15176/vol57no109","DOIUrl":"https://doi.org/10.15176/vol57no109","url":null,"abstract":"This paper problematizes the subversive icon of pregnancy and offers a linear overview of its various iterations in juxtaposition to the culture of fear, starting with Vlasta Delimar, whose installation Pregnancy (Trudnoća, 1987), inscribes her in the feminist and women’s art history of the Yugoslav/Croatian context as the first domestic artist who employed photo-documentation, or photo-performance, to document her own pregnancy. She performed her pregnancy in the manner of a goddess, sexualizing it by means of the Baubo pose. Next, the paper addresses the interpretations of the subversion achieved by the pregnant belly in Sanja Iveković’s work Lady Rosa of Luxembourg (2001). The sequence is further contextualized by the distressing confessional of Martina Križanić, a younger generation artist, who visualized the subversive representation of motherhood (Changing Booths, installation, 2017) from her own perspective and without fear, in the first local exhibition about pregnancy Woman – Pregnant Woman – Mother: Green Spheres and Necropolitics (Žena – trudnica – majka: zelene sfere i nekropolitike, Vladimir Bužančić Gallery, Zagreb 2017, curated by Anita Zlomislić).","PeriodicalId":38816,"journal":{"name":"Narodna Umjetnost","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-06-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.15176/vol57no109","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46953843","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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