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 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}
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 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 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}
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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