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}
In the past few years, cultural diplomacy has become important among the priorities of European Union (EU) policies. In that political vision, European cultural relations should be based on transnational interactions between two or more cultures, be equal, unprojective and non-coercive, and guided by mutual cooperation of state and non-state actors. The paper examines the development of the European Union's (EU) cultural diplomacy agenda, from "culture in external relations" to "inclusive cultural relations" and the "new spirit of dialogue" as a political narrative and institutional logic, laying the foundations for contemporary priorities of European foreign cultural policy, its instruments and programs. The theoretical and empirical framework of the analysis is set by considering the dichotomies of discourse and political rhetoric surrounding EU cultural diplomacy. The methodology of the work is based on an analysis of the EU public policy discourse and documents, initiatives, contents and announcements related to cultural diplomacy and foreign cultural policy, in order to see their development phases, concepts and scope of activities for improving international cultural relations. In defining and interpreting the current European "narrative" and the paradigm of cultural diplomacy, the paper starts from the multiperspectival theoretical foundation of cultural diplomacy and related concepts. The analysis shows how the EU's decade-long effort to shape its foreign policy and cultural strategy has gained its explicit expression from the implicit one. At several stages of development, the EU has adopted a new model of cultural diplomacy that combines elements of several definitions - and theoretical frameworks - of public diplomacy and soft power, cultural policy, international cultural relations and cultural cooperation. This integrated EU strategic approach is based on a broad definition of culture, intercultural dialogue and cooperation, and a bottom-up approach. In order to balance the soft power projection dimension in EU cultural diplomacy policy and practice, it would be necessary to persist in advocating for a cultural perspective that would focus on collaborative approaches and field processes generated by cultural diplomacy projects and actors. It would essentially be an incentive for a "new spirit of dialogue" both between member states and with third countries that are on the European path.
{"title":"Culture in the foreign relations of the European Union: Towards a new paradigm of cultural diplomacy?","authors":"Ljiljana Rogač-Mijatović","doi":"10.5937/kultura2173009r","DOIUrl":"https://doi.org/10.5937/kultura2173009r","url":null,"abstract":"In the past few years, cultural diplomacy has become important among the priorities of European Union (EU) policies. In that political vision, European cultural relations should be based on transnational interactions between two or more cultures, be equal, unprojective and non-coercive, and guided by mutual cooperation of state and non-state actors. The paper examines the development of the European Union's (EU) cultural diplomacy agenda, from \"culture in external relations\" to \"inclusive cultural relations\" and the \"new spirit of dialogue\" as a political narrative and institutional logic, laying the foundations for contemporary priorities of European foreign cultural policy, its instruments and programs. The theoretical and empirical framework of the analysis is set by considering the dichotomies of discourse and political rhetoric surrounding EU cultural diplomacy. The methodology of the work is based on an analysis of the EU public policy discourse and documents, initiatives, contents and announcements related to cultural diplomacy and foreign cultural policy, in order to see their development phases, concepts and scope of activities for improving international cultural relations. In defining and interpreting the current European \"narrative\" and the paradigm of cultural diplomacy, the paper starts from the multiperspectival theoretical foundation of cultural diplomacy and related concepts. The analysis shows how the EU's decade-long effort to shape its foreign policy and cultural strategy has gained its explicit expression from the implicit one. At several stages of development, the EU has adopted a new model of cultural diplomacy that combines elements of several definitions - and theoretical frameworks - of public diplomacy and soft power, cultural policy, international cultural relations and cultural cooperation. This integrated EU strategic approach is based on a broad definition of culture, intercultural dialogue and cooperation, and a bottom-up approach. In order to balance the soft power projection dimension in EU cultural diplomacy policy and practice, it would be necessary to persist in advocating for a cultural perspective that would focus on collaborative approaches and field processes generated by cultural diplomacy projects and actors. It would essentially be an incentive for a \"new spirit of dialogue\" both between member states and with third countries that are on the European path.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"35 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86406870","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 is a proposal for a methodologically based monitoring of the changes in habits and needs of library audiences, i.e. changes in access to library services, in the circumstances of the changed communication models caused by the wide use of information and communication technology. It presents audience research in the context of strategic planning in libraries, and points out terminological categories that could serve as a starting point for further research. Using the case study method of Novi Sad City Library, the paper categorizes the audience in two groups which proved to be right for quantitative and qualitative monitoring: according to the preference of the audience for certain content - permanent, occasional, potential and inaccessible audience types are defined, and according to the methods of addressing - users of funds and services, audiences in the narrow sense and online users are defined. Young people turned out to be a strategically relevant target group. The research has shown that the youth are the widest digital media consumers and that their primary goal is infotainment - a combination of a low percentage of information in highly entertaining packages. Members of young population do not recognize the library as a place of interest, so it is necessary to develop adequate channels of communication with them, in a way typical for this group. The paper shows how the model of the Novi Sad Library can be applied as a strategically based audience research in other public libraries, and gives an example of a user experience testing model (UX) and its final result - designed library services. Previous researches by Leo Appleton and Gina De Alwis were used in the paper. At the core of the designed service is participation, as a model of creating instead of consuming the prepared content.
在信息和通信技术的广泛使用导致传播模式发生变化的情况下，本文提出了一种基于方法的监测图书馆受众习惯和需求变化的建议，即获取图书馆服务的变化。它提出了在图书馆战略规划背景下的受众研究，并指出了可以作为进一步研究起点的术语类别。本文采用诺维萨德市图书馆的案例研究方法，将受众分为两类，这两类被证明是适合进行定量和定性监测的:根据受众对某些内容的偏好，定义了永久、偶尔、潜在和不可接近的受众类型;根据对资金和服务用户的称呼方法，定义了狭义受众和在线用户。年轻人是一个具有战略意义的目标群体。研究表明，年轻人是最广泛的数字媒体消费者，他们的主要目标是信息娱乐——在高度娱乐的包装中包含低比例的信息。年轻人不认为图书馆是一个有趣的地方，所以有必要以一种典型的方式与他们建立足够的沟通渠道。本文展示了如何将诺维萨德图书馆的模式作为一种基于策略的受众研究应用于其他公共图书馆，并给出了一个用户体验测试模型(UX)及其最终结果设计的图书馆服务的例子。本文引用了Leo Appleton和Gina De Alwis之前的研究。设计的服务的核心是参与，作为创建而不是消费准备好的内容的模型。
{"title":"Research of public libraries audience","authors":"B. Grujić","doi":"10.5937/kultura2171101g","DOIUrl":"https://doi.org/10.5937/kultura2171101g","url":null,"abstract":"This paper is a proposal for a methodologically based monitoring of the changes in habits and needs of library audiences, i.e. changes in access to library services, in the circumstances of the changed communication models caused by the wide use of information and communication technology. It presents audience research in the context of strategic planning in libraries, and points out terminological categories that could serve as a starting point for further research. Using the case study method of Novi Sad City Library, the paper categorizes the audience in two groups which proved to be right for quantitative and qualitative monitoring: according to the preference of the audience for certain content - permanent, occasional, potential and inaccessible audience types are defined, and according to the methods of addressing - users of funds and services, audiences in the narrow sense and online users are defined. Young people turned out to be a strategically relevant target group. The research has shown that the youth are the widest digital media consumers and that their primary goal is infotainment - a combination of a low percentage of information in highly entertaining packages. Members of young population do not recognize the library as a place of interest, so it is necessary to develop adequate channels of communication with them, in a way typical for this group. The paper shows how the model of the Novi Sad Library can be applied as a strategically based audience research in other public libraries, and gives an example of a user experience testing model (UX) and its final result - designed library services. Previous researches by Leo Appleton and Gina De Alwis were used in the paper. At the core of the designed service is participation, as a model of creating instead of consuming the prepared content.","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":"81413905","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}
This paper will examine in detail the discepancy between the phenomenon of decline of popularity of the choral amateurism that started in the mid-1950s and its rising prestige in the cultural diplomacy of the socialist Yugoslavia. Taking into consideration, on the one hand, the different phases of development of this practice after WW2 followed with various measures of the creators of Yugoslav cultural policies meant at its revitalization and expansion, and, on the other hand, strenghtening of its role and standing in the bilateral cultural exchanges in this period, we will try to point out the following: 1) how important the congruence between cultural diplomacy and national cultural policies (and politics) is, and 2) whether the focus on the different parts of the field of music is also fruitful for the cultural diplomacy.
{"title":"The problem of interrelations between cultural diplomacy and national cultural policies in the field of music: Experiences from the socialist Yugoslavia as a possible yardstick","authors":"Ivana Vesic","doi":"10.5937/kultura2173155v","DOIUrl":"https://doi.org/10.5937/kultura2173155v","url":null,"abstract":"This paper will examine in detail the discepancy between the phenomenon of decline of popularity of the choral amateurism that started in the mid-1950s and its rising prestige in the cultural diplomacy of the socialist Yugoslavia. Taking into consideration, on the one hand, the different phases of development of this practice after WW2 followed with various measures of the creators of Yugoslav cultural policies meant at its revitalization and expansion, and, on the other hand, strenghtening of its role and standing in the bilateral cultural exchanges in this period, we will try to point out the following: 1) how important the congruence between cultural diplomacy and national cultural policies (and politics) is, and 2) whether the focus on the different parts of the field of music is also fruitful for the cultural diplomacy.","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":"80635789","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：