The aim of this research is to investigate and compare the concept of culture in the Serbian and French linguistic and cultural communities by analysing associative responses to the stimulus word 'culture', given by the Serbian and French students. The responses are classified according to the concepts they express in order to determine linguistic and cultural similarities and specificities. Results of the research have shown that fifty responses are equivalent in meaning. Nevertheless, statistical analysis has revealed that identical associations differed in frequency. In addition, primary responses in Serbian ('theatre') and French ('knowledge') have not yielded the same meaning. In both languages, culture is conceptualised as necessity, life, wealth, prestige and preciousness. According to the results of the analysis, we can conclude that culture is conceptualised in a similar way in the two observed linguistic and cultural communities, with certain differences in the choice and frequencies of responses and concepts.
{"title":"Concept of culture in Serbian and French pictures of the world","authors":"Jovana Marčeta","doi":"10.5937/kultura2277035m","DOIUrl":"https://doi.org/10.5937/kultura2277035m","url":null,"abstract":"The aim of this research is to investigate and compare the concept of culture in the Serbian and French linguistic and cultural communities by analysing associative responses to the stimulus word 'culture', given by the Serbian and French students. The responses are classified according to the concepts they express in order to determine linguistic and cultural similarities and specificities. Results of the research have shown that fifty responses are equivalent in meaning. Nevertheless, statistical analysis has revealed that identical associations differed in frequency. In addition, primary responses in Serbian ('theatre') and French ('knowledge') have not yielded the same meaning. In both languages, culture is conceptualised as necessity, life, wealth, prestige and preciousness. According to the results of the analysis, we can conclude that culture is conceptualised in a similar way in the two observed linguistic and cultural communities, with certain differences in the choice and frequencies of responses and concepts.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"7 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82554383","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 was to provide historical background of the so-called second battle of Kosovo that has occurred in October 1448, as well as the oral tradition that came out from the battle. In the battle, Janos Hunyadi (Sibinjanin Janko in the Serbian oral epic tradition) fought and lost against the Turks at the very same place where prince Lazar had encountered the same enemy in 1389. From the historical point of view, the most important facts about this event are the following: Hunyadi led the army of Hungarians, Czechs, Germans, Poles and other Christians who had encountered the Ottoman army of Sultan Murat II; the Christians were defeated; Janko's nephew Szekely Janos lost his life; and Hunyadi himself escaped. Later on, Hunyadi became one of the most prominent heroes of the Serbian folk tradition and epic songs about heroic deeds. Beside him, Janos Szekely, who governed Slavonia and Croatia also become an epic legend, under the name of Sekula Banović. A part of the tradition of the battle of Varna, which took place in the year 1444, also came into the tradition of the Kosovo battle, from which emerged one complex oral memory of the heroic fights against the Ottoman conquerors. Even though there are a lot historically vague facts, even a lot of fictional characters, the tradition of Hunyadi's valiant clashes with the Turks on the field of Kosovo has remained and survived through different epochs.
{"title":"Sibinjanin Janko: History, tradition, legend","authors":"Boris Stojkovski","doi":"10.5937/kultura2275077s","DOIUrl":"https://doi.org/10.5937/kultura2275077s","url":null,"abstract":"The aim of the paper was to provide historical background of the so-called second battle of Kosovo that has occurred in October 1448, as well as the oral tradition that came out from the battle. In the battle, Janos Hunyadi (Sibinjanin Janko in the Serbian oral epic tradition) fought and lost against the Turks at the very same place where prince Lazar had encountered the same enemy in 1389. From the historical point of view, the most important facts about this event are the following: Hunyadi led the army of Hungarians, Czechs, Germans, Poles and other Christians who had encountered the Ottoman army of Sultan Murat II; the Christians were defeated; Janko's nephew Szekely Janos lost his life; and Hunyadi himself escaped. Later on, Hunyadi became one of the most prominent heroes of the Serbian folk tradition and epic songs about heroic deeds. Beside him, Janos Szekely, who governed Slavonia and Croatia also become an epic legend, under the name of Sekula Banović. A part of the tradition of the battle of Varna, which took place in the year 1444, also came into the tradition of the Kosovo battle, from which emerged one complex oral memory of the heroic fights against the Ottoman conquerors. Even though there are a lot historically vague facts, even a lot of fictional characters, the tradition of Hunyadi's valiant clashes with the Turks on the field of Kosovo has remained and survived through different epochs.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"86 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88943185","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 focuses on the COVID-19 pandemic impact on performing arts, notably the emergence of new presentation forms devised while concert activities were suspended, referring to the example of philharmonic orchestras. Owing to totalizing digitalization, which has shifted the entire production and reception of the performing and listening experience to the online sphere, the role of the audience also undergoes a shift from a collective to a virtual entity. The text, firstly, maps the emerging practices and explores their impact on changing the very sensory perception of new media content consumed in virtual reality. The focus of the paper is on redefinition of the PR department from communications towards the roll of the curator of the online presentations and the digital content and overall activities of the orchestra. The case study examines the example of the Belgrade Philharmonic Orchestra by analysing its digital presentation and communication strategy between March and June 2020. The goal is to identify the contributions of new practices, whose combination with the traditional ones could result in long-term audience and public relations development and enhancement of musical performance presentation. By continuously producing new contents for different target groups, without a single concert held in this period, the Philharmonic successfully attracted new audience and turned a crisis into an opportunity for interaction with new users, thus generating growth on all platforms. The conclusion provides a predictive analysis of return to normality, after the digital transgression experiences. It is recognized that music institutions will strategically develop their digital concert halls as new entrepreneurial models. As competition in this sphere brings PR departments to the fore owing to the need to work with complex algorithms, the digital ethical dilemma will intensify as a burning issue in the context of demographic data collection.
{"title":"Digital presentation of the Belgrade Philharmonic in the period of concert bans","authors":"Jelena Milašinović","doi":"10.5937/kultura2275151m","DOIUrl":"https://doi.org/10.5937/kultura2275151m","url":null,"abstract":"The paper focuses on the COVID-19 pandemic impact on performing arts, notably the emergence of new presentation forms devised while concert activities were suspended, referring to the example of philharmonic orchestras. Owing to totalizing digitalization, which has shifted the entire production and reception of the performing and listening experience to the online sphere, the role of the audience also undergoes a shift from a collective to a virtual entity. The text, firstly, maps the emerging practices and explores their impact on changing the very sensory perception of new media content consumed in virtual reality. The focus of the paper is on redefinition of the PR department from communications towards the roll of the curator of the online presentations and the digital content and overall activities of the orchestra. The case study examines the example of the Belgrade Philharmonic Orchestra by analysing its digital presentation and communication strategy between March and June 2020. The goal is to identify the contributions of new practices, whose combination with the traditional ones could result in long-term audience and public relations development and enhancement of musical performance presentation. By continuously producing new contents for different target groups, without a single concert held in this period, the Philharmonic successfully attracted new audience and turned a crisis into an opportunity for interaction with new users, thus generating growth on all platforms. The conclusion provides a predictive analysis of return to normality, after the digital transgression experiences. It is recognized that music institutions will strategically develop their digital concert halls as new entrepreneurial models. As competition in this sphere brings PR departments to the fore owing to the need to work with complex algorithms, the digital ethical dilemma will intensify as a burning issue in the context of demographic data collection.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"99 9 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87727192","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 Bulgarian hajduk (rebel) and later Byzantine despot and sebastokrator, the epic "Duke Momčilo", is a figure who left a big mark on South Slavic epic singing, among other things, as a fictional uncle of Marko Kraljević. He is one of the few people who remained in folklore memory for over six centuries. Biographical elements determined the later singing about this hero ("tall as a minaret"; death at the gates of a closed city), and key details of the established epic biography undoubtedly determined the range of Momchil՚s domains and his further appearance in epic patterns, mostly in Bulgaria.
{"title":"Modeling potential of epic heroes: The case of the duke Momčilo","authors":"Lidija Delić","doi":"10.5937/kultura2275037d","DOIUrl":"https://doi.org/10.5937/kultura2275037d","url":null,"abstract":"The Bulgarian hajduk (rebel) and later Byzantine despot and sebastokrator, the epic \"Duke Momčilo\", is a figure who left a big mark on South Slavic epic singing, among other things, as a fictional uncle of Marko Kraljević. He is one of the few people who remained in folklore memory for over six centuries. Biographical elements determined the later singing about this hero (\"tall as a minaret\"; death at the gates of a closed city), and key details of the established epic biography undoubtedly determined the range of Momchil՚s domains and his further appearance in epic patterns, mostly in Bulgaria.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"26 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83522927","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 aims to point out the discourses of fear of video games, which are present in the media and the public appearances of politicians and scientists. The aim is also to test the hypothesis of medium panic. It is a new term whose meaning is derived primarily from the terms moral panic and media panic. The purpose of the paper is to make an argument in favor of its application in recognizing and explaining the fear of video games in various social groups. Medium panic implies fear that arises from the way the media is structured and how user interaction with the media is established. In addition to media content - representation of violence, narratives, and characters - which is most often the target of criticism, the focus in this article is on other formal elements. Those are mechanics, rules, and goals as well as their phenomenological aspects - interactivity and immersion - which distinguish video games from other media. The term media panic is proposed as an analytical tool in future research of moral panic in its wider and media panic in its narrower sense.
{"title":"Video games and discourses of fear: Towards medium panic","authors":"Manojlo Maravić, Dušan Ristić","doi":"10.5937/kultura2276023m","DOIUrl":"https://doi.org/10.5937/kultura2276023m","url":null,"abstract":"This paper aims to point out the discourses of fear of video games, which are present in the media and the public appearances of politicians and scientists. The aim is also to test the hypothesis of medium panic. It is a new term whose meaning is derived primarily from the terms moral panic and media panic. The purpose of the paper is to make an argument in favor of its application in recognizing and explaining the fear of video games in various social groups. Medium panic implies fear that arises from the way the media is structured and how user interaction with the media is established. In addition to media content - representation of violence, narratives, and characters - which is most often the target of criticism, the focus in this article is on other formal elements. Those are mechanics, rules, and goals as well as their phenomenological aspects - interactivity and immersion - which distinguish video games from other media. The term media panic is proposed as an analytical tool in future research of moral panic in its wider and media panic in its narrower sense.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"24 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72918491","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}
Progress in music recording technology has influenced a change in artistic work and its reception. In this sense, performing, composing and listening represent the reverse side of social, historical, economic and political reality. Reflecting on the artistic practices of a producer/artist, which emerged from Pierre Bourdieu's theory of artistic production, this paper analyses the concepts of field, capital and habitus. An emphasis is given to the presentation of a shift in the practice of the artist Glenn Gould, more precisely to the change of field in his pianism, from live performance to production work. This shift has created a recording as an artistic product which, in reference to Bourdieu's theory, is set as an intentional sign whose artistic existence is conditioned by scientific approach and analysis. As such, the recording implies recognition of the author's signature, more precisely his artistic and social context, which is viewed as a system of comprehensible relationships.
{"title":"Change of field in Gould's pianism","authors":"Bojana Rodić","doi":"10.5937/kultura2277099r","DOIUrl":"https://doi.org/10.5937/kultura2277099r","url":null,"abstract":"Progress in music recording technology has influenced a change in artistic work and its reception. In this sense, performing, composing and listening represent the reverse side of social, historical, economic and political reality. Reflecting on the artistic practices of a producer/artist, which emerged from Pierre Bourdieu's theory of artistic production, this paper analyses the concepts of field, capital and habitus. An emphasis is given to the presentation of a shift in the practice of the artist Glenn Gould, more precisely to the change of field in his pianism, from live performance to production work. This shift has created a recording as an artistic product which, in reference to Bourdieu's theory, is set as an intentional sign whose artistic existence is conditioned by scientific approach and analysis. As such, the recording implies recognition of the author's signature, more precisely his artistic and social context, which is viewed as a system of comprehensible relationships.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"28 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77532071","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 his book Comparative History of Slavic Literatures, Dmytro Chyzhevsky saw macaronic poetry and also dialectal poetry, language of the Roma, children and different jargons as specific aspects of Baroque defamiliarization. Milorad Pavić, a known researcher of the Serbian Baroque, knew Baroque in its broadest sense, hence this aspect was not foreign to him. References to the book of Chyzhevsky made in the book History of Serbian Literature of the Baroque Era, testify to this. The manner in which Pavić as the writer used the potential of the dialectical poetry, reflects in the story titled The Tale That Killed Emilia Knorr. It ends with verses in kajkavski dialect, from the song Međimurska written by poet Nikola Pavić from Zagreb. This paper has been designed as an attempt to identify the functions of the verses in the context of Pavić's story. In other words, the paper is an attempt to answer the question about what meaningful horizons the verses have opened in the context of history, history of language, history of literature and culture. In The Tale That Killed Emilia Knorr, the quoted verses from the Međimurska song, which also conveys some spirit of our civic poetry or the spirit of Pannonia, suggest a love triangle - between two guys in kolo and Cecilia. Except the love triangle, Cecilia and her two suitors may also represent the literary mirroring of Nikola and Milorad Pavić, as well as the solidification (Cecilia) of their mirroring subject, or conflict subject if we accept the interpretation of the conflict (named as Emilia). The process of quoting verses in the body of a novel or a tale, have opened the interpretation of Pavić's deadly landscape as a double scenery (real and metaphysical). This has set the overtone of the ballad atmosphere to The Tale That Killed Emilia Knorr.
{"title":"Interdialect links between the tale that killed Emilia Knorr by Milorad Pavić and the poem Međimurska by Nikola Pavić","authors":"Jelena Marićević-Balać","doi":"10.5937/kultura2277071m","DOIUrl":"https://doi.org/10.5937/kultura2277071m","url":null,"abstract":"In his book Comparative History of Slavic Literatures, Dmytro Chyzhevsky saw macaronic poetry and also dialectal poetry, language of the Roma, children and different jargons as specific aspects of Baroque defamiliarization. Milorad Pavić, a known researcher of the Serbian Baroque, knew Baroque in its broadest sense, hence this aspect was not foreign to him. References to the book of Chyzhevsky made in the book History of Serbian Literature of the Baroque Era, testify to this. The manner in which Pavić as the writer used the potential of the dialectical poetry, reflects in the story titled The Tale That Killed Emilia Knorr. It ends with verses in kajkavski dialect, from the song Međimurska written by poet Nikola Pavić from Zagreb. This paper has been designed as an attempt to identify the functions of the verses in the context of Pavić's story. In other words, the paper is an attempt to answer the question about what meaningful horizons the verses have opened in the context of history, history of language, history of literature and culture. In The Tale That Killed Emilia Knorr, the quoted verses from the Međimurska song, which also conveys some spirit of our civic poetry or the spirit of Pannonia, suggest a love triangle - between two guys in kolo and Cecilia. Except the love triangle, Cecilia and her two suitors may also represent the literary mirroring of Nikola and Milorad Pavić, as well as the solidification (Cecilia) of their mirroring subject, or conflict subject if we accept the interpretation of the conflict (named as Emilia). The process of quoting verses in the body of a novel or a tale, have opened the interpretation of Pavić's deadly landscape as a double scenery (real and metaphysical). This has set the overtone of the ballad atmosphere to The Tale That Killed Emilia Knorr.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78752479","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 discusses the challenges in defining popular culture and its dynamic character in different contexts and time periods. The main intention is to highlight the distinction from stereotypical views of popular culture as mass culture produced in entertainment industry, as well as low culture versus high culture. The work emphasizes that popular culture is actually shaped through contradictions and contrasting elements that fight for supremacy, such as control and resistance, power and subordination, elitism and populism, traditional and industrial, innovative and conformist, cohesion and stratification. The central issue of consideration has been the question of identity and identity politics in rethinking of popular culture and its role in challenging dominant narratives and inciting social changes. The paper has specifically examined the dialectical games of power and subversion in popular culture on the example of Eurovision as an arena of popular culture, as well as popularity of the song In Corpore Sano, applying the analytical framework of the critical paradigm of cultural studies in search of an answer to the question "what is the secret" of this music track.
{"title":"Popular culture In motion: Dialectical games of power and subversion","authors":"Marijana Milankov","doi":"10.5937/kultura2277083m","DOIUrl":"https://doi.org/10.5937/kultura2277083m","url":null,"abstract":"This paper discusses the challenges in defining popular culture and its dynamic character in different contexts and time periods. The main intention is to highlight the distinction from stereotypical views of popular culture as mass culture produced in entertainment industry, as well as low culture versus high culture. The work emphasizes that popular culture is actually shaped through contradictions and contrasting elements that fight for supremacy, such as control and resistance, power and subordination, elitism and populism, traditional and industrial, innovative and conformist, cohesion and stratification. The central issue of consideration has been the question of identity and identity politics in rethinking of popular culture and its role in challenging dominant narratives and inciting social changes. The paper has specifically examined the dialectical games of power and subversion in popular culture on the example of Eurovision as an arena of popular culture, as well as popularity of the song In Corpore Sano, applying the analytical framework of the critical paradigm of cultural studies in search of an answer to the question \"what is the secret\" of this music track.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"42 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78148663","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 deals with a particular illustrated manuscript of the Tabaqat-i Nasiri in which scenes of Persian heroes are also depicted and illuminated. Analyzing this manuscript, but also the codicological tradition of the Prince Baysunghur era and various other manuscripts, the author raises the question whether in reality the author of these illustrations had in mind Persian princes when he depicted characters of epic heroes.
{"title":"Persian heroes or Timurid princes: The case of an illustrated manuscript of the Tabaqat-i Nasiri","authors":"Shiva Mihan","doi":"10.5937/kultura2275023m","DOIUrl":"https://doi.org/10.5937/kultura2275023m","url":null,"abstract":"The paper deals with a particular illustrated manuscript of the Tabaqat-i Nasiri in which scenes of Persian heroes are also depicted and illuminated. Analyzing this manuscript, but also the codicological tradition of the Prince Baysunghur era and various other manuscripts, the author raises the question whether in reality the author of these illustrations had in mind Persian princes when he depicted characters of epic heroes.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"38 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74608974","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 object of institutional discipline: docile body as a primary goal of shaping, is defined by Michel Foucault in relation to the position of the centre of power at a certain historical moment. Post-Yugoslav artistic cinematography praxis, realised in collaboration of the countries of former Yugoslavia, provides a space for analysing of the mechanisms of power in the period of challenging potential for manipulation. On the example of militarism and its structures, it is possible to extrapolate a docile body subordinate to the indoctrination system by using Foucault's study of discipline and punishment, and to analyse the causality of control enforcement. From the historical and outdated punishment systems, public delivery of physical punishments popularised at war times - as depicted in the film Krugovi (Circles) (2013, Srdan Golubović) as well as the consequences rising from manifestations of restrictions, through systemic presence of repressive messages/instruction bearers and unavoidability of the institution as a bastion of alienated centre of power - as depicted in the film Ničije dete (Nobody's Child) (2014, Vuk Ršumović), through description of the process of assimilation of a non-controlled individual into a defined system of subordinates, to the hierarchic dynamics within military units and acting out of one's own volition - as in the film Karaula (The Border Post) (2006, Rajkot Garlic) - the docile body, in terms of military mobilisation, provides an insight into how discipline/control functions, what consequences it raises and how it influences all members of the society, insisting on its stagnation.
{"title":"Docile body from the aspect of post-Yugoslav artistic praxis in Serbian film","authors":"Vasilija Antonijević","doi":"10.5937/kultura2276195a","DOIUrl":"https://doi.org/10.5937/kultura2276195a","url":null,"abstract":"The object of institutional discipline: docile body as a primary goal of shaping, is defined by Michel Foucault in relation to the position of the centre of power at a certain historical moment. Post-Yugoslav artistic cinematography praxis, realised in collaboration of the countries of former Yugoslavia, provides a space for analysing of the mechanisms of power in the period of challenging potential for manipulation. On the example of militarism and its structures, it is possible to extrapolate a docile body subordinate to the indoctrination system by using Foucault's study of discipline and punishment, and to analyse the causality of control enforcement. From the historical and outdated punishment systems, public delivery of physical punishments popularised at war times - as depicted in the film Krugovi (Circles) (2013, Srdan Golubović) as well as the consequences rising from manifestations of restrictions, through systemic presence of repressive messages/instruction bearers and unavoidability of the institution as a bastion of alienated centre of power - as depicted in the film Ničije dete (Nobody's Child) (2014, Vuk Ršumović), through description of the process of assimilation of a non-controlled individual into a defined system of subordinates, to the hierarchic dynamics within military units and acting out of one's own volition - as in the film Karaula (The Border Post) (2006, Rajkot Garlic) - the docile body, in terms of military mobilisation, provides an insight into how discipline/control functions, what consequences it raises and how it influences all members of the society, insisting on its stagnation.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"2012 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87717750","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：