Reality show or Reality TV programme is a symptom of the new pairing of the metaphysic of the "two worlds" and the contemporary technology. To analyse it as a symptom - i.e. a set of related signs - we need to use semiology of the media, separating the key codes as sets of rules and protocols for signifying practices that produce such TV programmes. In the analysis, these codes, taken here in their minimal but most important numbers, are shown as also the codes which produce everyday circulation of our representations and discourses, and open up a series of new questions. For example, to what extent is the reality show an image of everyday life, is it a simulation (imitation, mimesis) of it, or is it a simulacrum, as a structure of signs, which is beyond the old opposition of a model and a copy? Or perhaps, what we witness is a turn in communication where everyday picture of the world becomes a simulation of this simulacrum, that is an imitation of a reality programme as a pairing of metaphysics and technology?
{"title":"Culture from simulation to simulacrum and back","authors":"Novica Milić","doi":"10.5937/kultura2171139m","DOIUrl":"https://doi.org/10.5937/kultura2171139m","url":null,"abstract":"Reality show or Reality TV programme is a symptom of the new pairing of the metaphysic of the \"two worlds\" and the contemporary technology. To analyse it as a symptom - i.e. a set of related signs - we need to use semiology of the media, separating the key codes as sets of rules and protocols for signifying practices that produce such TV programmes. In the analysis, these codes, taken here in their minimal but most important numbers, are shown as also the codes which produce everyday circulation of our representations and discourses, and open up a series of new questions. For example, to what extent is the reality show an image of everyday life, is it a simulation (imitation, mimesis) of it, or is it a simulacrum, as a structure of signs, which is beyond the old opposition of a model and a copy? Or perhaps, what we witness is a turn in communication where everyday picture of the world becomes a simulation of this simulacrum, that is an imitation of a reality programme as a pairing of metaphysics and technology?","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"8 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82078176","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}
Cultural diplomacy of Yugoslavia 1945-1991 is often represented through its socialist, European or westernization aspects. However, one specific characteristic of this multinational federation is often overlooked. Non-alignment was the main axis of the Yugoslav foriegn policy from c. 1956 to 1989. This foreign policy doctrine made possible a wide array of networks to be formed with the newly liberated post-colonial states of Africa, Asia and Latin America. This paper presents a short history of these networks. The given examples present Yugoslav-African cooperation in the fields of museology, literature, artistic and intellectual exchange, exhibitions and institutions created based on this cooperation - such as the Museum of African Art in Belgrade. Yugoslavia was very present on the African continent and signed official cultural cooperation treaties with over 30 of its nation states. Belgrade and the rest of the Yugoslav federation was extremly receptive of initiatives from the non-aligned and, to the limits of their infrastructural and financial possibilities, supported them. The specificities of socialist Yugoslavia, however, made possible for a decentralization of cultural cooperation. The paper also examines the most recent interpretations of Non-Aligned heritage and history in lieu of events following the 60th anniversary of the Belgrade Conference and the Jubilee Conference of the Non-Aligned (Belgrade, October 2021). A special emphasis is placed upon the analysis of two exhibitions - The Non-Aligned World in the Museum of African Art, and the Prometheans of the New Century in the Museum of Yugoslavia. The last part of the text elaborates on the renewal of these old trends of cooperation and gives some thought to the reach and possiblities of cultural diplomacy in the post-colonial space of Africa, Asia and Latin America, highlighting recent examples from the Republic of Serbia and its neighbours. In a globalised world and with Serbia rapidly forming partners on all continents, these links should be re-examined and renewed.
{"title":"Cultural diplomacy of non-aligned Yugoslavia: Reflections of a forgotten heritage","authors":"N. Radonjic","doi":"10.5937/kultura2173137r","DOIUrl":"https://doi.org/10.5937/kultura2173137r","url":null,"abstract":"Cultural diplomacy of Yugoslavia 1945-1991 is often represented through its socialist, European or westernization aspects. However, one specific characteristic of this multinational federation is often overlooked. Non-alignment was the main axis of the Yugoslav foriegn policy from c. 1956 to 1989. This foreign policy doctrine made possible a wide array of networks to be formed with the newly liberated post-colonial states of Africa, Asia and Latin America. This paper presents a short history of these networks. The given examples present Yugoslav-African cooperation in the fields of museology, literature, artistic and intellectual exchange, exhibitions and institutions created based on this cooperation - such as the Museum of African Art in Belgrade. Yugoslavia was very present on the African continent and signed official cultural cooperation treaties with over 30 of its nation states. Belgrade and the rest of the Yugoslav federation was extremly receptive of initiatives from the non-aligned and, to the limits of their infrastructural and financial possibilities, supported them. The specificities of socialist Yugoslavia, however, made possible for a decentralization of cultural cooperation. The paper also examines the most recent interpretations of Non-Aligned heritage and history in lieu of events following the 60th anniversary of the Belgrade Conference and the Jubilee Conference of the Non-Aligned (Belgrade, October 2021). A special emphasis is placed upon the analysis of two exhibitions - The Non-Aligned World in the Museum of African Art, and the Prometheans of the New Century in the Museum of Yugoslavia. The last part of the text elaborates on the renewal of these old trends of cooperation and gives some thought to the reach and possiblities of cultural diplomacy in the post-colonial space of Africa, Asia and Latin America, highlighting recent examples from the Republic of Serbia and its neighbours. In a globalised world and with Serbia rapidly forming partners on all continents, these links should be re-examined and renewed.","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":"91124817","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}
Nikola Tesla and the Wright brothers, Wilbur and Orville, have worked and created in the United States of America in the period comprising the last two decades of the 19th and the first half of the 20th century. All three of them were visionaries and creators of the modern technical age. In the Tesla's legacy, apart from his personal and technical items, press clippings, monographic and serial publications, there are also about 156,000 sheets of archival material which cover his entire life and work, both chronologically and thematically. Among these testimonies there are four original documents (a concept of a condolence letter, a copy of the sent condolence letter, a brief gratitude note and a formal invitation) that were exchanged between Nikola Tesla and probably Orville Wright, between 1912 and 1920. The oldest preserved document of their correspondence is the concept of Tesla's condolence letter to Orville Wright on the occasion of the death of his older brother. Two approved patents for the Wright brothers' aircraft model have been preserved as well, which testifies of the scientist's interest in their work and aviation research in general. Researching the correspondence between Nikola Tesla and Orville Wright, as well as the other documents from the scientist's legacy preserved in the Nikola Tesla Museum in Belgrade, we have tried to highlight the details of his acquaintance with the Wright brothers, that is, a small fragment of his life and work which has remained almost unknown until today. Results of the research, presented in the form of a scientific research paper, contribute to a better understanding of the aviation history and reveal new details from the life stories of our renowned scientist and the two famous aviation pioneers. The publication of exclusive documents from Tesla's legacy is a contribution to the wider scientific community and a new reference point for all the researchers who are to cover similar topics in the future.
{"title":"The correspondence between Nikola Tesla and Orville Wright kept in the scientist's legacy in the Nikola Tesla museum: On the occasion of the 165th anniversary of the birth of Nikola Tesla","authors":"Bratislav Stojiljković, I. Ćirić","doi":"10.5937/kultura2171219s","DOIUrl":"https://doi.org/10.5937/kultura2171219s","url":null,"abstract":"Nikola Tesla and the Wright brothers, Wilbur and Orville, have worked and created in the United States of America in the period comprising the last two decades of the 19th and the first half of the 20th century. All three of them were visionaries and creators of the modern technical age. In the Tesla's legacy, apart from his personal and technical items, press clippings, monographic and serial publications, there are also about 156,000 sheets of archival material which cover his entire life and work, both chronologically and thematically. Among these testimonies there are four original documents (a concept of a condolence letter, a copy of the sent condolence letter, a brief gratitude note and a formal invitation) that were exchanged between Nikola Tesla and probably Orville Wright, between 1912 and 1920. The oldest preserved document of their correspondence is the concept of Tesla's condolence letter to Orville Wright on the occasion of the death of his older brother. Two approved patents for the Wright brothers' aircraft model have been preserved as well, which testifies of the scientist's interest in their work and aviation research in general. Researching the correspondence between Nikola Tesla and Orville Wright, as well as the other documents from the scientist's legacy preserved in the Nikola Tesla Museum in Belgrade, we have tried to highlight the details of his acquaintance with the Wright brothers, that is, a small fragment of his life and work which has remained almost unknown until today. Results of the research, presented in the form of a scientific research paper, contribute to a better understanding of the aviation history and reveal new details from the life stories of our renowned scientist and the two famous aviation pioneers. The publication of exclusive documents from Tesla's legacy is a contribution to the wider scientific community and a new reference point for all the researchers who are to cover similar topics in the future.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"15 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82481782","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}
Traditional reaction to crime is inefficient and experts are searching for innovative methods of social rehabilitation and reintegration of offenders. Restorative justice - an approach that respects interests of all the subjects affected by criminal offence, including victims, offenders and community - is becoming increasingly widespread as an addition to classical, formal judicial processes and punishments. Restorative process is efficient due to its powerful transformative mechanisms based upon dialogue, mediation, negotiation, reconciliation, forgiveness, symbolic rituals, reintegrative shaming, community support and control. Restorative elements emerge in various forms, including innovative programmes of work with prisoners, focused on social rehabilitation and reintegration, in order to prevent re-offending. Some of them implement therapeutic effects of art, as a means to help prisoners to: overcome deprivations, express emotions, heal past trauma, (re)establish healthy relationships, enhance empathy, strengthen self-confidence, rebuild positive identity and reintegrate in the community. On the grounds of Boal's "theatre of the oppressed", various forms of socially engaged theatrical genres evolved, including applied theatre, surpassing the borders of classical theatre and getting closer to performance. Theatre within the prison walls being one of them, we took the example of the theatre performance "Her Story", written and performed by prisoners from Correctional Institution for Women in Požarevac, Serbia. Completed through creative writing workshops and played in this penal institution, it is an example of applied theatre based upon art therapy with strong restorative effects. The points of intersection between restorative process and this theatre performance, make it stand out among other forms of applied theatre, providing it with particularly strong transformative effects. Following the case study of "Her Story", the authors of this paper have suggested further application of similar programmes and their promotion within the community, as an effective method of crime suppression through healing powers of art in synergy with restorative elements.
{"title":"Their story: From creative writing of female prisoners to restorative theatre performance","authors":"M. Kovačević, A. Batričević","doi":"10.5937/kultura2171245k","DOIUrl":"https://doi.org/10.5937/kultura2171245k","url":null,"abstract":"Traditional reaction to crime is inefficient and experts are searching for innovative methods of social rehabilitation and reintegration of offenders. Restorative justice - an approach that respects interests of all the subjects affected by criminal offence, including victims, offenders and community - is becoming increasingly widespread as an addition to classical, formal judicial processes and punishments. Restorative process is efficient due to its powerful transformative mechanisms based upon dialogue, mediation, negotiation, reconciliation, forgiveness, symbolic rituals, reintegrative shaming, community support and control. Restorative elements emerge in various forms, including innovative programmes of work with prisoners, focused on social rehabilitation and reintegration, in order to prevent re-offending. Some of them implement therapeutic effects of art, as a means to help prisoners to: overcome deprivations, express emotions, heal past trauma, (re)establish healthy relationships, enhance empathy, strengthen self-confidence, rebuild positive identity and reintegrate in the community. On the grounds of Boal's \"theatre of the oppressed\", various forms of socially engaged theatrical genres evolved, including applied theatre, surpassing the borders of classical theatre and getting closer to performance. Theatre within the prison walls being one of them, we took the example of the theatre performance \"Her Story\", written and performed by prisoners from Correctional Institution for Women in Požarevac, Serbia. Completed through creative writing workshops and played in this penal institution, it is an example of applied theatre based upon art therapy with strong restorative effects. The points of intersection between restorative process and this theatre performance, make it stand out among other forms of applied theatre, providing it with particularly strong transformative effects. Following the case study of \"Her Story\", the authors of this paper have suggested further application of similar programmes and their promotion within the community, as an effective method of crime suppression through healing powers of art in synergy with restorative elements.","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":"73213559","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
In the light of new approach to the promotion of the Russian Federation in the world, the author discusses its cultural diplomacy in the Republic of Serbia. The basic research question in the paper is related to the value orientation of Russia's cultural diplomacy in Serbia. He tries to identify the most important means of communication used by Russia's cultural diplomacy in Serbia, as well. The author finds that the main directions of the persuasive actions of the Russian Federation are harmonized with its political goals in Serbia and that the idea of Russia as a protector of Serbs is the basis of its value orientation. He finds the most significant shortcomings in Russia's persuasive actions in the absence of a pro-Russian cultural elite in Serbia and a television channel.
{"title":"What message is Russia sending us: Russian cultural diplomacy in Serbia at the beginning of the 21st century","authors":"Siniša Atlagić","doi":"10.5937/kultura2173021a","DOIUrl":"https://doi.org/10.5937/kultura2173021a","url":null,"abstract":"In the light of new approach to the promotion of the Russian Federation in the world, the author discusses its cultural diplomacy in the Republic of Serbia. The basic research question in the paper is related to the value orientation of Russia's cultural diplomacy in Serbia. He tries to identify the most important means of communication used by Russia's cultural diplomacy in Serbia, as well. The author finds that the main directions of the persuasive actions of the Russian Federation are harmonized with its political goals in Serbia and that the idea of Russia as a protector of Serbs is the basis of its value orientation. He finds the most significant shortcomings in Russia's persuasive actions in the absence of a pro-Russian cultural elite in Serbia and a television channel.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"53 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73911858","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 this paper is to explore the relation between changes in the economic sphere and the emergence of postmodern culture during the twentieth century. After examining Jameson's and Harvey's (neo)Marxist attempts at explaining the emergence of postmodern culture, the paper will focus on Foucault's contribution to the analysis of neoliberalism. Using Foucault's analysis of neoliberalism as a "governmental regime" that creates systems of power relations to govern subjects, the paper further explores the postmodern culture as a cultural dimension of this regime. In conclusion, postmodern culture can be viewed as a cultural dimension of neoliberalism because it contributes to the creation of subjects that correspond to the needs of the regime. Therefore, postmodern culture will be called "the social logic of neoliberalism".
{"title":"Postmodern culture as a social logic of neoliberal capitalism","authors":"M. Urosevic","doi":"10.5937/kultura2171039u","DOIUrl":"https://doi.org/10.5937/kultura2171039u","url":null,"abstract":"The aim of this paper is to explore the relation between changes in the economic sphere and the emergence of postmodern culture during the twentieth century. After examining Jameson's and Harvey's (neo)Marxist attempts at explaining the emergence of postmodern culture, the paper will focus on Foucault's contribution to the analysis of neoliberalism. Using Foucault's analysis of neoliberalism as a \"governmental regime\" that creates systems of power relations to govern subjects, the paper further explores the postmodern culture as a cultural dimension of this regime. In conclusion, postmodern culture can be viewed as a cultural dimension of neoliberalism because it contributes to the creation of subjects that correspond to the needs of the regime. Therefore, postmodern culture will be called \"the social logic of neoliberalism\".","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"82 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83952084","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper presents a polemical examination of the possibility of achieving interculturalism in the context of Hegel's totality, as the truth and the state of the modern world. In considering this problem, we start from the basic concepts of Hegel's philosophy of Spirit, with the aim of providing insight into the key problems of totality in the Hegel's philosophical system. The dialectical relationship that operates within the Hegel's system of Spirit is considered, and the question of the philosophy of history is opened as a specific way of thinking about historical movement that directs us to re-examine the possibility of achieving interculturality in the modern global society. Overcoming the current historical totality - global capitalism, requires a re-confrontation with Hegel's philosophy and setting of a dialectic that exists at the core of the world in which we live. Also, the paper offers an attempt to consider alternative actions, steps towards the realization of the idea and practice of interculturality and the development of a dialectical response to the perverted Hegelian totality that marks the present.
{"title":"Hegel's totality as a necessary challenge for the possibility of achieving interculturalism: Polemical writings","authors":"Aleksa Vukašinović","doi":"10.5937/kultura2171009v","DOIUrl":"https://doi.org/10.5937/kultura2171009v","url":null,"abstract":"The paper presents a polemical examination of the possibility of achieving interculturalism in the context of Hegel's totality, as the truth and the state of the modern world. In considering this problem, we start from the basic concepts of Hegel's philosophy of Spirit, with the aim of providing insight into the key problems of totality in the Hegel's philosophical system. The dialectical relationship that operates within the Hegel's system of Spirit is considered, and the question of the philosophy of history is opened as a specific way of thinking about historical movement that directs us to re-examine the possibility of achieving interculturality in the modern global society. Overcoming the current historical totality - global capitalism, requires a re-confrontation with Hegel's philosophy and setting of a dialectic that exists at the core of the world in which we live. Also, the paper offers an attempt to consider alternative actions, steps towards the realization of the idea and practice of interculturality and the development of a dialectical response to the perverted Hegelian totality that marks the present.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"33 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75493116","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 diplomacy of socialist Yugoslavia paid a lot of attention to the international reputation of the country in the sphere of culture, and thus literature. At the same time, Yugoslav writers in the Writer's Union of Yugoslavia, faithfully supported Yugoslav foreign policy, both individually and institutionally. The most impressive example of collaboration between literature and diplomacy was awarding Ivo Andrić a Nobel Prize. The Writers' Union of Yugoslavia nominated the writer in 1958, and Yugoslav diplomacy lobbied in favor of Andrić for several years. The efforts were successfully crowned in 1961. In socialist Yugoslavia, the existence of a special Macedonian nation and its culture and language was insisted on, so in that sense, the greatest challenge was denying the Macedonian identity that came from Bulgaria. The Yugoslav Writers' Union, consistently pursuing state policy, suspended official co-operation with the Bulgarian Writers' Union in the second half of the 1960s due to Bulgaria's refusal to recognize the Macedonian language. Yugoslav writers also adapted to the state policy of non-alignment. They did not reach the level of cooperation with those countries that existed in the field of politics, economics or science, but they maintained ties with writers from those parts of the world in various ways. Among other things, the twentieth anniversary of the Belgrade Conference of the Non-Aligned Nations in October 1981 was a meeting of writers of non-aligned countries in Belgrade.
{"title":"Literature and diplomacy: Lessons from socialist Yugoslavia","authors":"Slobodan Selinić","doi":"10.5937/kultura2173125s","DOIUrl":"https://doi.org/10.5937/kultura2173125s","url":null,"abstract":"The diplomacy of socialist Yugoslavia paid a lot of attention to the international reputation of the country in the sphere of culture, and thus literature. At the same time, Yugoslav writers in the Writer's Union of Yugoslavia, faithfully supported Yugoslav foreign policy, both individually and institutionally. The most impressive example of collaboration between literature and diplomacy was awarding Ivo Andrić a Nobel Prize. The Writers' Union of Yugoslavia nominated the writer in 1958, and Yugoslav diplomacy lobbied in favor of Andrić for several years. The efforts were successfully crowned in 1961. In socialist Yugoslavia, the existence of a special Macedonian nation and its culture and language was insisted on, so in that sense, the greatest challenge was denying the Macedonian identity that came from Bulgaria. The Yugoslav Writers' Union, consistently pursuing state policy, suspended official co-operation with the Bulgarian Writers' Union in the second half of the 1960s due to Bulgaria's refusal to recognize the Macedonian language. Yugoslav writers also adapted to the state policy of non-alignment. They did not reach the level of cooperation with those countries that existed in the field of politics, economics or science, but they maintained ties with writers from those parts of the world in various ways. Among other things, the twentieth anniversary of the Belgrade Conference of the Non-Aligned Nations in October 1981 was a meeting of writers of non-aligned countries in Belgrade.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"14 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79774734","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}
From the earliest times, the heart has been one of the most studied organs. We can find records about this organ dating from the very beginning of written history, and we understand that different beliefs have been associated with it before. Very early on, people have noticed that the heart occupies a central place in the body, that the cessation of its work means death in both humans and animals, and that excitement changes the rhythm and the manner of its functioning. However, in addition to the physiological function of this organ, throughout history, the heart has been given various magical and religious meanings. In today's world, the heart has overcome the notion of a sign and has become a symbol of love, connection between people and affection. In this paper, different meanings of this symbol throughout history to the present day are presented, with the aim of understanding it in a cultural context.
{"title":"Symbolism of the heart","authors":"Jelena Subotić-Krivokapić","doi":"10.5937/kultura2171235s","DOIUrl":"https://doi.org/10.5937/kultura2171235s","url":null,"abstract":"From the earliest times, the heart has been one of the most studied organs. We can find records about this organ dating from the very beginning of written history, and we understand that different beliefs have been associated with it before. Very early on, people have noticed that the heart occupies a central place in the body, that the cessation of its work means death in both humans and animals, and that excitement changes the rhythm and the manner of its functioning. However, in addition to the physiological function of this organ, throughout history, the heart has been given various magical and religious meanings. In today's world, the heart has overcome the notion of a sign and has become a symbol of love, connection between people and affection. In this paper, different meanings of this symbol throughout history to the present day are presented, with the aim of understanding it in a cultural context.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"3 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80903088","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 author of this paper seeks to draw public attention to the position and importance of aesthetics for education in art. Therefore, this paper will present some critical deliberations about the significance of modern education in art, aiming at finding potential answers to the following question: What are the new conceptions of education in art? Within the framework of philosophy of art and bearing in mind some of the leading (pre)aesthetic conceptions of art, the abovementioned question will be broken down into its key aspects in order to emphasize its complexity, and also the inability to provide a final and universally applicable answer. In that regard, special attention will be paid to deliberations about contemporary tendencies regarding education in art, in order to highlight possible challenges and potentials regarding the artist, the recipient of a work of art, and, finally, the art theorist. These tendencies will be analysed with regard to insights into current cultural and artistic practice, as well as the social phenomena (in)directly affecting them.
{"title":"Aesthetics and its importance for education in art","authors":"A. Ratković","doi":"10.5937/kultura2171089r","DOIUrl":"https://doi.org/10.5937/kultura2171089r","url":null,"abstract":"The author of this paper seeks to draw public attention to the position and importance of aesthetics for education in art. Therefore, this paper will present some critical deliberations about the significance of modern education in art, aiming at finding potential answers to the following question: What are the new conceptions of education in art? Within the framework of philosophy of art and bearing in mind some of the leading (pre)aesthetic conceptions of art, the abovementioned question will be broken down into its key aspects in order to emphasize its complexity, and also the inability to provide a final and universally applicable answer. In that regard, special attention will be paid to deliberations about contemporary tendencies regarding education in art, in order to highlight possible challenges and potentials regarding the artist, the recipient of a work of art, and, finally, the art theorist. These tendencies will be analysed with regard to insights into current cultural and artistic practice, as well as the social phenomena (in)directly affecting them.","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":"89735641","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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