Anthropology as a holistic science whose basic goal is a deep understanding of culture, society and human behavior, has always dealt with virtual worlds, so even today it explores new, digital worlds and man in it. The challenges that technological development entails include a new way of thinking that requires the necessity of transmedia literacy as a prerequisite for critical thinking at this time. The world of technological revolution, the Internet, globalization, social networks is characterized by huge information noise that makes us mentally zapping. Communication between older, verbal and younger, digital generations is disrupted. Young people are not responsible for that because digital is part of their identity. Millennials and post-millennials (Generation Zed) have their own world, their own language and they should not be underestimated by naturalizing their own adulescentism. The mobile phone, by facilitating therapeutic gossip in an alienated and fragmented modern world, helps us cope with it, adapt and survive. Understanding the Internet generation means understanding the future - of us all.
{"title":"Contemporary culture of convergence and superconnection: Anthropological perspectives","authors":"J. Božić","doi":"10.5937/kultura2276151b","DOIUrl":"https://doi.org/10.5937/kultura2276151b","url":null,"abstract":"Anthropology as a holistic science whose basic goal is a deep understanding of culture, society and human behavior, has always dealt with virtual worlds, so even today it explores new, digital worlds and man in it. The challenges that technological development entails include a new way of thinking that requires the necessity of transmedia literacy as a prerequisite for critical thinking at this time. The world of technological revolution, the Internet, globalization, social networks is characterized by huge information noise that makes us mentally zapping. Communication between older, verbal and younger, digital generations is disrupted. Young people are not responsible for that because digital is part of their identity. Millennials and post-millennials (Generation Zed) have their own world, their own language and they should not be underestimated by naturalizing their own adulescentism. The mobile phone, by facilitating therapeutic gossip in an alienated and fragmented modern world, helps us cope with it, adapt and survive. Understanding the Internet generation means understanding the future - of us all.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"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":"86098733","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 philosophical platform of the modern French sociologist, philosopher, theoretician and anthropologist Pierre Bourdieu, represents a dominant conceptual means and analytical instrument used for researching artistic phenomena and the part they play in the society. Acting in the field of sociology, philosophy and sociology of culture, Bourdieu has redefined the perception of social reality, made an emphasis on the reconsideration of the foundation of objective scientific knowledge and has asserted the importance of researching practice in the socio-historical context. The starting point of Bourdieu's work is the problematization of his theoretical concepts of habitus, practice, capital and the fields used for enlightening of the practice and the influence of avant-garde and revolutionary Bauhaus school and movement. The aim and the focus of this work is to present new forms of the artistic-educational institution of Bauhaus as an active social participant, as well as its innovative and specific practice in constructing of the social environment. Using the analytical and historical methods and applying Pierre Bourdieu's theory in the transdisciplinary area and in the research of artistic phenomena, a change in social reality is shown through a change in the artistic and educational practices in the field.
{"title":"Bauhaus and Pierre Bourdieu's theory of practice","authors":"A. Vujović","doi":"10.5937/kultura2277045v","DOIUrl":"https://doi.org/10.5937/kultura2277045v","url":null,"abstract":"The philosophical platform of the modern French sociologist, philosopher, theoretician and anthropologist Pierre Bourdieu, represents a dominant conceptual means and analytical instrument used for researching artistic phenomena and the part they play in the society. Acting in the field of sociology, philosophy and sociology of culture, Bourdieu has redefined the perception of social reality, made an emphasis on the reconsideration of the foundation of objective scientific knowledge and has asserted the importance of researching practice in the socio-historical context. The starting point of Bourdieu's work is the problematization of his theoretical concepts of habitus, practice, capital and the fields used for enlightening of the practice and the influence of avant-garde and revolutionary Bauhaus school and movement. The aim and the focus of this work is to present new forms of the artistic-educational institution of Bauhaus as an active social participant, as well as its innovative and specific practice in constructing of the social environment. Using the analytical and historical methods and applying Pierre Bourdieu's theory in the transdisciplinary area and in the research of artistic phenomena, a change in social reality is shown through a change in the artistic and educational practices in the field.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"57 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2022-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79097502","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}
Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hosting of exhibitions of foreign institutions, visiting exhibitions of the Gallery in European museums, organization of joint exhibitions with museums in the region, cooperation with foreign cultural centers and through protocol visits. Well-designed themes and programs that promote national art, connections with other cultures and the culture of other nations, museum activities - exhibitions and publications - become an important tool for better international relations and a foundation for active cooperation among museum institutions throughout Europe.
{"title":"Activities of the gallery of Matica Srpska in the service of cultural diplomacy","authors":"Tijana Palkovljević-Bugarski, Lolita Pejović","doi":"10.5937/kultura2173113p","DOIUrl":"https://doi.org/10.5937/kultura2173113p","url":null,"abstract":"Within the framework of rich and diverse activities of museums, which include exhibitions, publishing, educational and conservation / restoration activities, a special place is given to international cooperation programs which, if well designed, can play an important role in the cultural diplomacy system of each country. In the process of transformation from a traditional to a modern museum of the 21st century, the Gallery of Matica Srpska has directed an important part of its activities towards international cooperation and thus cultural diplomacy. These activities are realized through hosting of exhibitions of foreign institutions, visiting exhibitions of the Gallery in European museums, organization of joint exhibitions with museums in the region, cooperation with foreign cultural centers and through protocol visits. Well-designed themes and programs that promote national art, connections with other cultures and the culture of other nations, museum activities - exhibitions and publications - become an important tool for better international relations and a foundation for active cooperation among museum institutions throughout Europe.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"107 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77415940","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}
Following the path of the painting after the departure of Petar Lubarda, one of our most prominent art figures, we are faced with the question to what extent we have fulfilled our task to protect the cultural property that was left-donated-to us. Processing the data from the most extensive register in the documentation of the Faculty of Fine Arts, with a multitude of actual and sensationalist titles that follow the life of his paintings, we have learnt about the formation of a rich collection donated by the artist's wife, Vera Lubarda, to the City of Belgrade, about the opening of the Atelier of Petar Lubarda and, shortly afterwards, its closing and falling into oblivion. However, in the light of one century from the birth of our esteemed artist, a need arose for retrospective exhibitions, which have, along with marking the jubilee and forming the Legacy of Petar Lubarda, to some extent corrected the decades of neglect by the expert public and the responsible cultural institutions. With an objective approach to the preserved data recorded by numerous art historians, critics and journalists, which are kept in the Petar Lubarda files, the paper presents the most current events about the life of his paintings in the period from the artist's death to the present day
{"title":"Life of the painting after death of the artist","authors":"Nataša Popovska","doi":"10.5937/kultura2171204p","DOIUrl":"https://doi.org/10.5937/kultura2171204p","url":null,"abstract":"Following the path of the painting after the departure of Petar Lubarda, one of our most prominent art figures, we are faced with the question to what extent we have fulfilled our task to protect the cultural property that was left-donated-to us. Processing the data from the most extensive register in the documentation of the Faculty of Fine Arts, with a multitude of actual and sensationalist titles that follow the life of his paintings, we have learnt about the formation of a rich collection donated by the artist's wife, Vera Lubarda, to the City of Belgrade, about the opening of the Atelier of Petar Lubarda and, shortly afterwards, its closing and falling into oblivion. However, in the light of one century from the birth of our esteemed artist, a need arose for retrospective exhibitions, which have, along with marking the jubilee and forming the Legacy of Petar Lubarda, to some extent corrected the decades of neglect by the expert public and the responsible cultural institutions. With an objective approach to the preserved data recorded by numerous art historians, critics and journalists, which are kept in the Petar Lubarda files, the paper presents the most current events about the life of his paintings in the period from the artist's death to the present day","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"34 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76590958","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 explores the soft power of the Serbian TV series produced in the period 2015-2021 - as focused on the in depth analysis of the TV series Senke nad Balkanom (Black Sun/Shadows over the Balkans, 2017, Dragan Bjelogrlić) - and their role in the domains of cultural diplomacy and international relations of Republic of Serbia. The research uses the methods of the qualitative (textual, narrative, genre) and quantitative (the financial success in terms of distribution, placement at the festivals, promotions on the social webs) analysis. The aim of this paper is to map out - reading the thematically and generically diverse case studies of multilayered narrative complexity - the emerging patterns of the soft power analysis of TV series and their importance and value for the national cultural policy and diplomacy. Consequently, the multifaceted narrative of the Shadows over the Balkans becomes the story of the past and the present; cultural and political tensions; opposed parties and conflicting identities in the country and in the region. At the same time the TV series creates the image of Serbia - process of 'branding the nation and the state' - aimed for and turned toward the world, but not necessarily made in accordance with the state priorities and strategies. Regional and global reactions and critical response to the Shadows over the Balkans, its international placement, distribution and promotion argue the skilful change of the global into the local phenomenon (global exploitation and the growing soft power) as well as the successfully achieved mission of the cultural diplomacy - have appropriated identity and enhanced visibility of the country and of the nation.
本文探讨了2015-2021年期间制作的塞尔维亚电视剧的软实力-重点是对电视剧Senke nad Balkanom(黑太阳/巴尔干半岛的阴影，2017年，Dragan bjelogrliki)的深入分析-以及它们在塞尔维亚共和国文化外交和国际关系领域的作用。该研究采用了定性(文本、叙事、类型)和定量(在发行、电影节上的位置、社交网络上的推广等方面的财务成功)分析方法。本文的目的是通过阅读具有多层叙事复杂性的主题和总体多样性的案例研究，描绘出电视剧软实力分析的新模式及其对国家文化政策和外交的重要性和价值。因此，《巴尔干半岛的阴影》的多面叙事成为过去和现在的故事;文化和政治紧张;该国和该地区对立的政党和相互冲突的身份。与此同时，这部电视剧塑造了塞尔维亚的形象，这是一个“民族与国家品牌化”的过程，面向世界，但并不一定符合国家的优先事项和战略。地区和全球的反应以及对《巴尔干阴影》的批判性反应，它的国际定位、分布和推广都认为，将全球现象巧妙地转变为地方现象(全球剥削和不断增长的软实力)，以及成功实现文化外交的使命——已经占据了身份，提高了国家和民族的知名度。
{"title":"Soft power of the Balkans: Soft power of the TV series: Black Sun/Shadows over the Balkans","authors":"Nevena Daković, Aleksandra Milovanović","doi":"10.5937/kultura2173083d","DOIUrl":"https://doi.org/10.5937/kultura2173083d","url":null,"abstract":"The paper explores the soft power of the Serbian TV series produced in the period 2015-2021 - as focused on the in depth analysis of the TV series Senke nad Balkanom (Black Sun/Shadows over the Balkans, 2017, Dragan Bjelogrlić) - and their role in the domains of cultural diplomacy and international relations of Republic of Serbia. The research uses the methods of the qualitative (textual, narrative, genre) and quantitative (the financial success in terms of distribution, placement at the festivals, promotions on the social webs) analysis. The aim of this paper is to map out - reading the thematically and generically diverse case studies of multilayered narrative complexity - the emerging patterns of the soft power analysis of TV series and their importance and value for the national cultural policy and diplomacy. Consequently, the multifaceted narrative of the Shadows over the Balkans becomes the story of the past and the present; cultural and political tensions; opposed parties and conflicting identities in the country and in the region. At the same time the TV series creates the image of Serbia - process of 'branding the nation and the state' - aimed for and turned toward the world, but not necessarily made in accordance with the state priorities and strategies. Regional and global reactions and critical response to the Shadows over the Balkans, its international placement, distribution and promotion argue the skilful change of the global into the local phenomenon (global exploitation and the growing soft power) as well as the successfully achieved mission of the cultural diplomacy - have appropriated identity and enhanced visibility of the country and of the nation.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"21 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74071341","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 follows the musealisation of the collection of black and white negatives from the Legacy of Aleksandar Simić, photographer of the Yugoslav Army in the homeland, i.e. its integration into the fund of the Museum of Yugoslavia, which has not yet collected materials of Ravna Gora provenance. Also, considerations were raised regarding the legal status of donated material in cultural institutions so that, in correlation with those considerations, questions related to the museological treatment of objects that arrived to the Museum would be answered. By that, we primarily mean the process of museal selection, i.e. valorisation of donated photographic material, its digital and documentary processing, and finally, consideration of the communication potential of the received collection in relation to the Museum's fund, which can raise numerous challenges for the researchers due to its heterogeneity and nature
{"title":"Musealisation of the collection of black and white negatives from the Legacy of Aleksandar Simić","authors":"M. Tomic","doi":"10.5937/kultura2171190t","DOIUrl":"https://doi.org/10.5937/kultura2171190t","url":null,"abstract":"The paper follows the musealisation of the collection of black and white negatives from the Legacy of Aleksandar Simić, photographer of the Yugoslav Army in the homeland, i.e. its integration into the fund of the Museum of Yugoslavia, which has not yet collected materials of Ravna Gora provenance. Also, considerations were raised regarding the legal status of donated material in cultural institutions so that, in correlation with those considerations, questions related to the museological treatment of objects that arrived to the Museum would be answered. By that, we primarily mean the process of museal selection, i.e. valorisation of donated photographic material, its digital and documentary processing, and finally, consideration of the communication potential of the received collection in relation to the Museum's fund, which can raise numerous challenges for the researchers due to its heterogeneity and nature","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89937613","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}
Based on a research study (Questionnaire Scientists and Cultural (Scientific) Diplomacy of Serbia, conducted among employees in research, scientific and teaching positions at faculties and institutes in the Republic of Serbia from November 1-15, 2021), analysis of available documents of the Ministry of Education, Science and Technological Development of the Republic of Serbia, as well as literature, the paper analyzes the place and the role of scientists (scholars) in the cultural (scientific) diplomacy of Serbia. Recalling the historical significance of scientists in the political and social development of Serbia since the beginning of building a modern Serbian statehood, the place of scientists in society is emphasized and the possibilities to apply good examples in the present are analyzed as well. Based on data on the participation of Serbian scientists in international projects and networking with scientists in Europe and the world, the paper will provide recommendations for better use of these ties in (re)positioning Serbia in bilateral and multilateral relations. The paper presents current attitude of scientists in Serbia on the need and importance of cultural (scientific) diplomacy to answer the following questions: How many of them participated in cultural-diplomatic actions? Do they perceive themselves as actors of cultural (scientific) diplomacy? In what ways Serbian cultural diplomacy can be organized? Finally, this paper, in addition to analyzing the possibilities and scope of engaging scientists to promote Serbia and its interests in international relations, also gives specific recommendations for strengthening and developing cultural diplomacy of Serbia. International projects, conferences, guest appearances and study stays are an excellent training ground for improving and presenting results, as well for establishing contacts and connections, but they also can and must be developed into a powerful tool of Serbian public diplomacy. The results of this research showed that a significant part of Serbian scientists have a clear awareness of their role in scientific and cultural exchange, as well as that they have a desire to participate in it. This, along with the scientific elite of this country in the diaspora, is a huge untapped potential of Serbia. This potential has to be systematically organized and shaped in accordance with the goals of Serbian diplomacy. It is very important that actors of cultural (scientific) diplomacy and useful individuals be recognized and financially supported, which should be followed by better coordination design of activities of the Ministry of Foreign Affairs, the Ministry of Culture and the Ministry of Education, Science and Technological Development. Cross-sectoral cooperation can be strengthened through joint coordination bodies or by building a system of institutions that would deal with: (additional) education of new staff (master studies, specialized courses in cultural and scientific diplomacy
{"title":"Scientists and cultural diplomacy of Serbia","authors":"Aleksandra Kolaković","doi":"10.5937/kultura2173175k","DOIUrl":"https://doi.org/10.5937/kultura2173175k","url":null,"abstract":"Based on a research study (Questionnaire Scientists and Cultural (Scientific) Diplomacy of Serbia, conducted among employees in research, scientific and teaching positions at faculties and institutes in the Republic of Serbia from November 1-15, 2021), analysis of available documents of the Ministry of Education, Science and Technological Development of the Republic of Serbia, as well as literature, the paper analyzes the place and the role of scientists (scholars) in the cultural (scientific) diplomacy of Serbia. Recalling the historical significance of scientists in the political and social development of Serbia since the beginning of building a modern Serbian statehood, the place of scientists in society is emphasized and the possibilities to apply good examples in the present are analyzed as well. Based on data on the participation of Serbian scientists in international projects and networking with scientists in Europe and the world, the paper will provide recommendations for better use of these ties in (re)positioning Serbia in bilateral and multilateral relations. The paper presents current attitude of scientists in Serbia on the need and importance of cultural (scientific) diplomacy to answer the following questions: How many of them participated in cultural-diplomatic actions? Do they perceive themselves as actors of cultural (scientific) diplomacy? In what ways Serbian cultural diplomacy can be organized? Finally, this paper, in addition to analyzing the possibilities and scope of engaging scientists to promote Serbia and its interests in international relations, also gives specific recommendations for strengthening and developing cultural diplomacy of Serbia. International projects, conferences, guest appearances and study stays are an excellent training ground for improving and presenting results, as well for establishing contacts and connections, but they also can and must be developed into a powerful tool of Serbian public diplomacy. The results of this research showed that a significant part of Serbian scientists have a clear awareness of their role in scientific and cultural exchange, as well as that they have a desire to participate in it. This, along with the scientific elite of this country in the diaspora, is a huge untapped potential of Serbia. This potential has to be systematically organized and shaped in accordance with the goals of Serbian diplomacy. It is very important that actors of cultural (scientific) diplomacy and useful individuals be recognized and financially supported, which should be followed by better coordination design of activities of the Ministry of Foreign Affairs, the Ministry of Culture and the Ministry of Education, Science and Technological Development. Cross-sectoral cooperation can be strengthened through joint coordination bodies or by building a system of institutions that would deal with: (additional) education of new staff (master studies, specialized courses in cultural and scientific diplomacy","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88693265","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}
By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali "I am the genius" (The Secret World of Salvador Dali), in the paining "The Metamorphosis of Narcissus", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic "Persona") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the "Surrealism Manifesto" and the Surrealism practices. In a case study, the text analyses the painting "Metamorphosis of Narcissus", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of "Critical Paranoia" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the "Dali" brand.
{"title":"Constructing of the narcissistic artistic character in the autobiography of Salvador Dali: Salvador Dali with an insight into the painting metamorphosis of narcissus, and the Dali museum/bequests","authors":"Ana Popović-Bodroža","doi":"10.5937/kultura2171167p","DOIUrl":"https://doi.org/10.5937/kultura2171167p","url":null,"abstract":"By applying the methodology of transdisciplinary studies, this work examines the phenomenon of Narcissism and narcissistic artistic character in the autobiography of Salvador Dali \"I am the genius\" (The Secret World of Salvador Dali), in the paining \"The Metamorphosis of Narcissus\", and in Dali's original poetry through the prisms of mythology, psychoanalysis and psychosexuality by constructing of the narcissistic character (artistic \"Persona\") as a model for identity strategies in contemporary art practices. The text is analysing some of Dali's unique personality characteristics and creative and personal expression, with a special insight into his childhood and the term of narcissistic personality structure according to Sigmund Freud, also analysing the key-role of Gala Dali. The text includes some postulates of the art movement of Surrealism that Dali applied in his work, from the \"Surrealism Manifesto\" and the Surrealism practices. In a case study, the text analyses the painting \"Metamorphosis of Narcissus\", its content, symbolism, style and visual elements. A possible influence of Sigmund Freud is described, and Dali's original method of \"Critical Paranoia\" is elaborated. The closing sections are describing the fascinating dimensions of the personality cult that Dali and his narcissistic character reached in the last years of his life. A special focus is made on the musealisation of Dali - his numerous museums and bequests, memorials and collections, the founding of which has contributed to the building of a permanent monument to the artist and finally to the establishment of his status of a mythical personality - the \"Dali\" brand.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"41 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88006997","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}
Francusko-srpski književni i kulturni odnosi često su proučavani na osnovu primarnih izvora, ali i na osnovu ličnog i profesionalnog odnosa umetnika i pisaca iz ove dve zemlje. Upravo ovakva istraživanja upotpunjuju istraživanja istoričara. Zato ćemo u našem radu ispitati odnos francuskog intelektualca, novinara i pisca Žan Rišara Bloka (1884-1947) prema srpskim i jugoslovenskim piscima i intelektualcima. Ovaj, danas nepravedno zaboravljeni, pisac rođen je i umro u Parizu. Učestvovao je aktivno u Prvom svetskom ratu, u kojem je ranjen čak tri puta. Nakon rata sarađivao je s francuskim listovima levičarske političke orijentacije. Godine 1921. pristupa francuskoj Komunističkoj partiji, a 1923. godine osniva čuveni književni mesečnik Evropa, koji i danas izlazi. S početka Drugog svetskog rata zbog svog jevrejskog porekla i političke orijentacije traži azil u SSSR-u. Tokom rata u Moskvi je radio kao radijski novinar i svakodnevno se obraćao Francuzima. U Francusku se vraća 1945. godine. Njegovu porodičnu kuću, s velikom bibliotekom, u naselju Merigo u Poatjeu Nemci nisu dirali, dok je stan njegove majke, koji se nalazio u centru grada, potpuno demoliran. U ratu ovaj pisac gubi više članova porodice. Analizirajući francusku i srpsku štampu, neobjavljenu arhivsku građu i reportaže ovog pisca, pokušaćemo da rekonstruišemo kako je Žan Rišar Blok bio prvi koji je stupio u kontakt sa srpskim đacima u Poatjeu i kako on za srpske intelektualce ostaje nepoznat sve do Španskog građanskog rata. Takođe, pokazaćemo i njegove aktivnosti u Jugoslaviji, njegov odnos prema jugoslovenskoj politici i kulturi, kao i učešće na prvom Kongresu jugoslovenskih pisaca. Budući da je kulturni transfer išao dvosmerno, u radu ćemo predstaviti i ne tako obimnu, ali svakako važnu, recepciju dva romana ovog autora I Kompanija i Španija, Španija! na jugoslovenskom prostoru. Upravo na taj način otvorićemo mogućnost da se i drugi istraživači zainteresuju za ovog intelektualca u kontekstu kulturnih odnosa Francuske i Srbije.
{"title":"Duboka svest o istoriji Žan Rišara Bloka - jedna jugoslovenska epizoda","authors":"Velimir Mladenović","doi":"10.5937/kultura2171028m","DOIUrl":"https://doi.org/10.5937/kultura2171028m","url":null,"abstract":"Francusko-srpski književni i kulturni odnosi često su proučavani na osnovu primarnih izvora, ali i na osnovu ličnog i profesionalnog odnosa umetnika i pisaca iz ove dve zemlje. Upravo ovakva istraživanja upotpunjuju istraživanja istoričara. Zato ćemo u našem radu ispitati odnos francuskog intelektualca, novinara i pisca Žan Rišara Bloka (1884-1947) prema srpskim i jugoslovenskim piscima i intelektualcima. Ovaj, danas nepravedno zaboravljeni, pisac rođen je i umro u Parizu. Učestvovao je aktivno u Prvom svetskom ratu, u kojem je ranjen čak tri puta. Nakon rata sarađivao je s francuskim listovima levičarske političke orijentacije. Godine 1921. pristupa francuskoj Komunističkoj partiji, a 1923. godine osniva čuveni književni mesečnik Evropa, koji i danas izlazi. S početka Drugog svetskog rata zbog svog jevrejskog porekla i političke orijentacije traži azil u SSSR-u. Tokom rata u Moskvi je radio kao radijski novinar i svakodnevno se obraćao Francuzima. U Francusku se vraća 1945. godine. Njegovu porodičnu kuću, s velikom bibliotekom, u naselju Merigo u Poatjeu Nemci nisu dirali, dok je stan njegove majke, koji se nalazio u centru grada, potpuno demoliran. U ratu ovaj pisac gubi više članova porodice. Analizirajući francusku i srpsku štampu, neobjavljenu arhivsku građu i reportaže ovog pisca, pokušaćemo da rekonstruišemo kako je Žan Rišar Blok bio prvi koji je stupio u kontakt sa srpskim đacima u Poatjeu i kako on za srpske intelektualce ostaje nepoznat sve do Španskog građanskog rata. Takođe, pokazaćemo i njegove aktivnosti u Jugoslaviji, njegov odnos prema jugoslovenskoj politici i kulturi, kao i učešće na prvom Kongresu jugoslovenskih pisaca. Budući da je kulturni transfer išao dvosmerno, u radu ćemo predstaviti i ne tako obimnu, ali svakako važnu, recepciju dva romana ovog autora I Kompanija i Španija, Španija! na jugoslovenskom prostoru. Upravo na taj način otvorićemo mogućnost da se i drugi istraživači zainteresuju za ovog intelektualca u kontekstu kulturnih odnosa Francuske i Srbije.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"70 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85554099","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}
By the mid-20th century, Simone de Beauvoir has published an important and ground-breaking research into the facts, myths and living experience of "the second sex" (Le Deuxième Sexe, 1949). Drawing on contemporary theories based on phenomenology and existentialism, de Beauvoir argues that the "man" is a historical idea, and the woman as a "becoming". At the end of the 20th century pain studies have gained vast attention in political theory, especially in political effect theory and "new materialism". Numerous studies have neglected de Beauvoir's frequent arguments dealing with "women's pain" and women's agency in human mitsein, particularly regarding the woman's embeddedness in social myths that "feminise" the body of a woman, as a form of crisis and resistance to be subjected to species and reproduction. This paper deals with the crisis and critique of physiological, economic, psychological and social disposability of female bodies. In addition, this research re-questions the limits of physical, semiological, cultural and political dissemination of (female) laughter, seen through the lens of interruptions and destabilizations of the hegemonic gender discourse incarcerated within the gender divide. Consequently, we are to open up a space for interrogating the "irony of giggle" as a form of resistance to the contemporary body politics - as a non-place, devoid of any political agency.
{"title":"\"The second sex\" of pain and laughter: Painful giggling transressions of gender divide","authors":"Mirjana Stošić","doi":"10.5937/kultura2171074s","DOIUrl":"https://doi.org/10.5937/kultura2171074s","url":null,"abstract":"By the mid-20th century, Simone de Beauvoir has published an important and ground-breaking research into the facts, myths and living experience of \"the second sex\" (Le Deuxième Sexe, 1949). Drawing on contemporary theories based on phenomenology and existentialism, de Beauvoir argues that the \"man\" is a historical idea, and the woman as a \"becoming\". At the end of the 20th century pain studies have gained vast attention in political theory, especially in political effect theory and \"new materialism\". Numerous studies have neglected de Beauvoir's frequent arguments dealing with \"women's pain\" and women's agency in human mitsein, particularly regarding the woman's embeddedness in social myths that \"feminise\" the body of a woman, as a form of crisis and resistance to be subjected to species and reproduction. This paper deals with the crisis and critique of physiological, economic, psychological and social disposability of female bodies. In addition, this research re-questions the limits of physical, semiological, cultural and political dissemination of (female) laughter, seen through the lens of interruptions and destabilizations of the hegemonic gender discourse incarcerated within the gender divide. Consequently, we are to open up a space for interrogating the \"irony of giggle\" as a form of resistance to the contemporary body politics - as a non-place, devoid of any political agency.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"17 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82683017","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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