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}
The People's Republic of China has long sought to improve its image in the world through various and numerous forms of public and cultural diplomacy. Since China became one of the important and influential actors at international level, there was a need to change their perspective concerning others, but also to change the perspective of others concerning China. To achieve that, the People's Republic of China has begun to implement a proactive strategy of public and cultural diplomacy, which will promote it as a responsible great power and which will contribute to the formation of a positive narrative in international relations. The Chinese authorities, with several major initiatives involving economic, political and cultural strategies are seeking to improve and promote their country's image as a trusted political and economic partner. In the process, culture and cultural exchange are becoming one of China's most important tools for increasing its soft power. As these initiatives include the Western Balkans, and thus the Republic of Serbia, China, as elsewhere, uses various methods and instruments of cultural diplomacy, ranging from Confucius Institutes and academic cooperation to the internationalization of the Chinese media as well as Chinese presence in the media of these countries. Accordingly, the aim of the paper is to present and describe how these instruments work in the Western Balkans, and how they are applied in the Republic of Serbia in comparison with other countries in the region.
{"title":"Cultural diplomacy of the people's Republic of China in the Western Balkans: Serbia from a comparative perspective","authors":"D. Trailović","doi":"10.5937/kultura2173035t","DOIUrl":"https://doi.org/10.5937/kultura2173035t","url":null,"abstract":"The People's Republic of China has long sought to improve its image in the world through various and numerous forms of public and cultural diplomacy. Since China became one of the important and influential actors at international level, there was a need to change their perspective concerning others, but also to change the perspective of others concerning China. To achieve that, the People's Republic of China has begun to implement a proactive strategy of public and cultural diplomacy, which will promote it as a responsible great power and which will contribute to the formation of a positive narrative in international relations. The Chinese authorities, with several major initiatives involving economic, political and cultural strategies are seeking to improve and promote their country's image as a trusted political and economic partner. In the process, culture and cultural exchange are becoming one of China's most important tools for increasing its soft power. As these initiatives include the Western Balkans, and thus the Republic of Serbia, China, as elsewhere, uses various methods and instruments of cultural diplomacy, ranging from Confucius Institutes and academic cooperation to the internationalization of the Chinese media as well as Chinese presence in the media of these countries. Accordingly, the aim of the paper is to present and describe how these instruments work in the Western Balkans, and how they are applied in the Republic of Serbia in comparison with other countries in the region.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"18 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82775817","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 so-called "postmodern turn" has produced a sense of turmoil in contemporary philosophy and the humanities, subverting the Western mind and provoking doubts in its existence, sense of meaning and purpose. It disputes almost all basic premises of modernity. For example, notions such as: the self, the subject, imagination, became a target of vicious attacks by postmodern thinkers. Counter to the modern notion of the subject, the postmodern subject lacks an essential core of identity: it is fragmented, decentered, in the process of perpetual change or disintegration. A "thinking and reflecting" subject who looks inward to inspect the self is denied, as neither such an interiorized being that examines, conceptualize and interacts with others, nor interiority as such, exist. The subject is nowadays advised to search outward for the ways to interact with the social world, because this a privileged way of construing one's self. In similar fashion, imagination is obliterated and devoid of its creative powers. The "imaginary", as a reference to an impersonal entity, is substituted for the notion of imagination. While the latter stands for an "author" or "creator" who produces or creates images, the former is nothing creative in itself. The outcome is that, in the postmodern theory, the imagination is seen as an obsolete mental ability which is deposed of its power to create meaning. My intention in this paper is not to reanimate the modern notions of the self, the subject and imagination, but rather to consent with the postmodern verdict and proceed onward. It is my intention to build a post-postmodern notion of the self. The purpose of my paper is to introduce a post-Jungian account of the importance that the narrative and imagination have in human life for the constitution of subjectivity and the self.
{"title":"The post-postmodern subject: The role of narrative imagination in construing of the subject","authors":"V. Popović","doi":"10.5937/kultura2171055p","DOIUrl":"https://doi.org/10.5937/kultura2171055p","url":null,"abstract":"The so-called \"postmodern turn\" has produced a sense of turmoil in contemporary philosophy and the humanities, subverting the Western mind and provoking doubts in its existence, sense of meaning and purpose. It disputes almost all basic premises of modernity. For example, notions such as: the self, the subject, imagination, became a target of vicious attacks by postmodern thinkers. Counter to the modern notion of the subject, the postmodern subject lacks an essential core of identity: it is fragmented, decentered, in the process of perpetual change or disintegration. A \"thinking and reflecting\" subject who looks inward to inspect the self is denied, as neither such an interiorized being that examines, conceptualize and interacts with others, nor interiority as such, exist. The subject is nowadays advised to search outward for the ways to interact with the social world, because this a privileged way of construing one's self. In similar fashion, imagination is obliterated and devoid of its creative powers. The \"imaginary\", as a reference to an impersonal entity, is substituted for the notion of imagination. While the latter stands for an \"author\" or \"creator\" who produces or creates images, the former is nothing creative in itself. The outcome is that, in the postmodern theory, the imagination is seen as an obsolete mental ability which is deposed of its power to create meaning. My intention in this paper is not to reanimate the modern notions of the self, the subject and imagination, but rather to consent with the postmodern verdict and proceed onward. It is my intention to build a post-postmodern notion of the self. The purpose of my paper is to introduce a post-Jungian account of the importance that the narrative and imagination have in human life for the constitution of subjectivity and the self.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"31 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88675845","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 objective of the article is to shed light on the historical and intellectual frameworks within which the concept of American cultural diplomacy has emerged and transformed, as well as to identify the features of its theoretical formulations and practical application. American historical experience, first the inter-war, and subsequently World War II and Cold War, essentially determined the ways in which the diplomatic system of the United States developed. Academic and social debates on the role and significance of culture in pursuing national interest have been, and remained until today, reflections of international system transformations and the American position therein. The superpower experience during the bipolar system of the Cold War, as well as subsequent incomparable status of the global hegemony during the post-Cold War "unipolar moment", has shaped the practice of American diplomacy in a way which occasionally blurred the difference between the natures and extents of military and cultural dominance of the US. This is evident from the case of American cultural-diplomatic relations with Serbia and former Yugoslavia, analyzed in the third section of the paper. The key finding is that, in the context of great power politics, the cultural aspect of foreign policy functions only in cooperation with the military-strategic aspect; thus, only cultural influence purposefully exerted as part of general diplomatic efforts can be considered cultural diplomacy.
{"title":"Features of cultural diplomacy of the United States of America","authors":"Mladen Lišanin","doi":"10.5937/kultura2173069l","DOIUrl":"https://doi.org/10.5937/kultura2173069l","url":null,"abstract":"The objective of the article is to shed light on the historical and intellectual frameworks within which the concept of American cultural diplomacy has emerged and transformed, as well as to identify the features of its theoretical formulations and practical application. American historical experience, first the inter-war, and subsequently World War II and Cold War, essentially determined the ways in which the diplomatic system of the United States developed. Academic and social debates on the role and significance of culture in pursuing national interest have been, and remained until today, reflections of international system transformations and the American position therein. The superpower experience during the bipolar system of the Cold War, as well as subsequent incomparable status of the global hegemony during the post-Cold War \"unipolar moment\", has shaped the practice of American diplomacy in a way which occasionally blurred the difference between the natures and extents of military and cultural dominance of the US. This is evident from the case of American cultural-diplomatic relations with Serbia and former Yugoslavia, analyzed in the third section of the paper. The key finding is that, in the context of great power politics, the cultural aspect of foreign policy functions only in cooperation with the military-strategic aspect; thus, only cultural influence purposefully exerted as part of general diplomatic efforts can be considered cultural diplomacy.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"43 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78540517","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}
What are the types of interaction between dominant and non-dominant models in history of ideas? Is it the case that dominant paradigms of thought and "absolute pre-suppositions" of one age are permeated with non-dominant, different or even opposite sets of ideas, pre-suppositions and beliefs? If so, to what extent? Is it possible to control trajectories of ideas, their circulation and historical interactions in processes of suppressing the non-dominant models (by eradicating material traces and destroying their proponents)? How do suppressed ideas influence dominant models of thought?
{"title":"Some examples of interaction between dominant and non-dominant models in history of thought","authors":"Aleksandar Milanković","doi":"10.5937/kultura2171151m","DOIUrl":"https://doi.org/10.5937/kultura2171151m","url":null,"abstract":"What are the types of interaction between dominant and non-dominant models in history of ideas? Is it the case that dominant paradigms of thought and \"absolute pre-suppositions\" of one age are permeated with non-dominant, different or even opposite sets of ideas, pre-suppositions and beliefs? If so, to what extent? Is it possible to control trajectories of ideas, their circulation and historical interactions in processes of suppressing the non-dominant models (by eradicating material traces and destroying their proponents)? How do suppressed ideas influence dominant models of thought?","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"37 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73400818","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 concept of sustainable urban development requires re-purposing of buildings and areas in service of local communities. Industrial complexes which are no longer used for their original purpose are often left to degrade, simply because their demolition requires large investments. In such circumstances, creative sector initiatives were proved to be of multiple importance. They do not require too much of financial investment and do provide authentic solutions for the given problem. Innovation in that domain significantly contributes to the tourism industry, in particular to some forms of selective tourism and to outbound markets whose demands are increasingly difficult to be satisfied by mass tourism products. Among examples from practice, the case of "Ciglana" in Karaburma (Brick factory) in Belgrade stands distinguished, as a place where the festival "Dev9t" dedicated to creativity has been organized. This area contains the memory of various layers and stages of Belgrade's industrialization and it is not under institutional protection. In this paper, the process of its adaptive reuse was discussed, as well as new meanings assigned to it by the festival activities.
{"title":"Industrial heritage and creative initiatives as catalysts of event tourism","authors":"Aleksandra Jevtović","doi":"10.5937/kultura2171124j","DOIUrl":"https://doi.org/10.5937/kultura2171124j","url":null,"abstract":"The concept of sustainable urban development requires re-purposing of buildings and areas in service of local communities. Industrial complexes which are no longer used for their original purpose are often left to degrade, simply because their demolition requires large investments. In such circumstances, creative sector initiatives were proved to be of multiple importance. They do not require too much of financial investment and do provide authentic solutions for the given problem. Innovation in that domain significantly contributes to the tourism industry, in particular to some forms of selective tourism and to outbound markets whose demands are increasingly difficult to be satisfied by mass tourism products. Among examples from practice, the case of \"Ciglana\" in Karaburma (Brick factory) in Belgrade stands distinguished, as a place where the festival \"Dev9t\" dedicated to creativity has been organized. This area contains the memory of various layers and stages of Belgrade's industrialization and it is not under institutional protection. In this paper, the process of its adaptive reuse was discussed, as well as new meanings assigned to it by the festival activities.","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"19 5 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76999624","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}
Two of the twenty-eight legacies to the Belgrade City Museum are found in the "Collection of Money and Medals": the bequests of Đorđe Novaković and Svetozar St. Dušanić. These collections were donated to the Museum in the 1970s. After a brief review of the concept and the legal status of legacies in view of the Serbian cultural milieu and policies, the paper demonstrates a study of two bequests - the paper banknotes and the Roman coins from the "Collection for Money and Medals". In addition to the short history of each legacy, the manner in which they were formed, including their contents, an attempt was made to search available documentation in the museum archives to demonstrate how the collections were donated to the Museum and "established" as legacies. The work also considers to what extent and with what success the Museum activities have been carried out in practice, namely: preservation, conservation, restoration and documentation filing, as well as communication activities which include exhibitions and education
贝尔格莱德城市博物馆的28件遗产中有两件在“金钱和奖章收藏”中找到:Đorđe novakoviic和Svetozar St. Dušanić的遗赠。这些藏品是在20世纪70年代捐赠给博物馆的。在简要回顾了遗产的概念和法律地位之后，鉴于塞尔维亚的文化环境和政策，本文展示了对两种遗赠的研究-纸币和罗马硬币“收集金钱和奖章”。除了每件遗产的短暂历史、形成方式及其内容外，还试图搜索博物馆档案中的现有文件，以证明这些藏品是如何捐赠给博物馆并“确立”为遗产的。这项工作还考虑到博物馆的活动在实践中进行的程度和成功程度，即:保存，保存，修复和文件存档，以及包括展览和教育在内的交流活动
{"title":"Legacies to the collection of coins and medals of the Belgrade City Museum","authors":"Jelena Vasić-Derimanović","doi":"10.5937/kultura2171179v","DOIUrl":"https://doi.org/10.5937/kultura2171179v","url":null,"abstract":"Two of the twenty-eight legacies to the Belgrade City Museum are found in the \"Collection of Money and Medals\": the bequests of Đorđe Novaković and Svetozar St. Dušanić. These collections were donated to the Museum in the 1970s. After a brief review of the concept and the legal status of legacies in view of the Serbian cultural milieu and policies, the paper demonstrates a study of two bequests - the paper banknotes and the Roman coins from the \"Collection for Money and Medals\". In addition to the short history of each legacy, the manner in which they were formed, including their contents, an attempt was made to search available documentation in the museum archives to demonstrate how the collections were donated to the Museum and \"established\" as legacies. The work also considers to what extent and with what success the Museum activities have been carried out in practice, namely: preservation, conservation, restoration and documentation filing, as well as communication activities which include exhibitions and education","PeriodicalId":53322,"journal":{"name":"Kultura Skopje","volume":"62 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74542670","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}
A new form of identity that emerged in the late Renaissance grew even more vivid in the Baroque Age. It was a novel, complex type of identity, that was fashioned by the individual, according to social norms and expectations. That type of identity was often immortalised in the painted or sculpted portraits, but not only there. The image that one left for posterity could have been a manifold one, represented in lavish libraries and the first cabinets of curiosities. Simultaneously with the development of the first collections as mirrors of identity, grew a parallel notion where a collection surpassed the confines of the particular and became a symbolic signifier of the collective identity of the state. The role of the collections in the cultural diplomacy of the early modern state are the main topic of this article. But in order to be fully understood, this mechanism would need to be explained first on the individual and then on a wider plane.
{"title":"A composite image of the state: The role of collections in the cultural diplomacy of the early modern state","authors":"Jelena Todorović","doi":"10.5937/kultura2173097t","DOIUrl":"https://doi.org/10.5937/kultura2173097t","url":null,"abstract":"A new form of identity that emerged in the late Renaissance grew even more vivid in the Baroque Age. It was a novel, complex type of identity, that was fashioned by the individual, according to social norms and expectations. That type of identity was often immortalised in the painted or sculpted portraits, but not only there. The image that one left for posterity could have been a manifold one, represented in lavish libraries and the first cabinets of curiosities. Simultaneously with the development of the first collections as mirrors of identity, grew a parallel notion where a collection surpassed the confines of the particular and became a symbolic signifier of the collective identity of the state. The role of the collections in the cultural diplomacy of the early modern state are the main topic of this article. But in order to be fully understood, this mechanism would need to be explained first on the individual and then on a wider plane.","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":"83094460","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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