Kultura
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The Kultura Journal is an international scientific journal for the theory and sociology of culture and cultural policy, which follows culture in the widest sense of the word where science, education and all human activities are taken as its integral part.
It was started in 1968 courtesy to the efforts of Stevan Majstorović, founder of the Centre for Studies in Cultural Development, with the objective to encourage integrative, analytical and critical interpretations of the modern cultural phenomena.
At the time of its establishment, the Kultura Journal was unique in the domain of intellectual thought both in terms of its concept and its design. Since the first issue, i.e. over the fifty years of its existence, Kultura has been and has remained open to creative ideas from the country and the world, as seen from the texts of important foreign authors and contributions from professionals coming from the cultural centres of former Yugoslavia, as well as domestic authors who offered new ideas and approaches to culture. The recognizable design solution of the logo of the journal and its cover page were created by the artist and calligraphist Božidar Bole Miloradović, for the very first number.
As of 1971, the issues were edited thematically, which has been dominant practice to this date, with the aim of enriching certain thematic fields in our cultural and scientific community.
The first Editorial Board of the Kultura Journal consisted of eleven members, led by the Editor-in Chief Stevan Majstorović and Trivo Inđić, as conceptual instigators of the journal which heralded a new orientation in the intellectual field. Members of the Editorial Board were: Slobodan Canić, Dragutin Gostuški, Vujadin Jokić, Danica Mojsin, Mirjana Nikolić, Nebojša Popov, Bogdan Tirnanić, Milan Vojnović and Tihomir Vučković. Over the five decades of the Kultura Journal, editorial boards changed several times.
Kultura is issued every three months (four times a year) and its printing has been financed by the Ministry of Culture and Information of the Republic of Serbia since 2001. With support of the competent ministry, all numbers of this journal, from the first to the last issue, were digitalized in 2009. As a result, a DVD containing digital form of the journal, was available with the issue No. 129, titled "Electronic libraries". A few years later, in 2013, Kultura switched to the Cyrillic script, with an important note that it still published in Latin script those authors from the region who originally use Latin script(Montenegro, Bosnia and Herzegovina, Croatia). With the issue No. 140, on the occasion of marking the 45th anniversary of the Kultura Journal, a special USB was made available, with all the texts from the numbers 1-137. The web page of the Centre for Studies in Cultural Development contains all the texts ever published in any issue of the Kultura Journal over half a century of its existence.
The Department for Registration of Journals of the Ministry of Education, Science and Technological Development of the Republic of Serbia, the Kultura Journal was registered in 2005 (when categorisation of scientific journals started) marked as category P53. In 2010,it was registered as category M52 in the group of journals for history, art,history, ethnology and archaeology. At the beginning of July 2012, the journal advanced to the category of national interest, by Decision of the Ministry of education, science and technological development of the Republic of Serbia (M51).
Kultura is regularly deposited with the Repository of the National Library of Serbia, and since 2010, it has been included in the Serbian Quotation Index, where the texts published in Kultura can be found in full digital form. As of 2011, the texts i.e. scientific articles, apart from the regular UDK (universal decimal classification) also carry specific DOI (Digital Object Identifier) codes, that allow for their greater visibility and international indexing under international standards. In the meantime,electronic version of the journal was started i.e. the first steps were made towards electronic edition by CEON (Service for monitoring, measuring and valorisation of scientific journals) through Aseestant electronic editing programme. This has contributed to the quality of published articles, as the editorial board now have at their disposal adequate programmes for text checking in terms of correct citation sand listings of references as well as prevention of plagiarism.
Kultura is regularly delivered to the National Library of Serbia in Belgrade, Belgrade City Library,University Library "Svetozar Marković" in Belgrade, Library of Matica Srpska in Novi Sad, Library of the Serbian Academy of Sciences and Arts in Belgrade, Library of the Rectorate of the University of Arts in Belgrade, University Library in Niš and University Library in Kragujevac. The Kultura Journalis regularly received by numerous interested institutions of culture (libraries, theatres, museums, culture centres) as well as individuals. The Journal nurtures professional exchanges with many similar institutions and magazines in the country, region and in Europe (Montenegro, Croatia, Slovenia,Hungary, Bulgaria, Germany, Switzerland and other countries).
In addition to respecting scientific rules and standards for publishing scientific papers, Kultura has not lost the curiosity or the freshness of an avant-garde magazine dealing with both eternal and very actual topics.
Pages
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- Strategies of film minimalism and the transcendental in the science fiction film Arrival by Denis Villeneuve
- Science fiction as a film genre often employs strategies of minimalism - through elements such as narrative structure, shots, camera angles, camera movement, composition, lighting, colour, costume, set design and sound narration. The minimalistic technique manifests transcendental style - the way Paul Schrader uses this term in his study Transcendental Style in Film: Ozu, Bresson, Dreyer (although it doesn't cover this genre). This technique involves the principle of reduction in all possible forms, as well as repetition, abandoning decorative details and expressive techniques, conveying the film narrative to a stasis - a point where sparse means collide. Ontological query posed by SF dramas such as Kubrick's 2001: A Space Odyssey, Tarkovsky's Solaris, Danny Boyle's Sunshine, Alfonso Cuarón's Gravity, where suspense derives from human contact with the Universe and from transcendence of earthly existence, also frames the film narrative Arrival directed by a Canadian filmmaker Denis Villeneuve. Consistently executing minimalistic strategies, Villeneuve guides his female protagonist through contact with extraterrestrial beings into the sphere of transcendental experience. This paper interprets those strategies in a film medium which follow minimalistic practices of painters and visual artists (Frank Stella, Barnett Newman, Mark Rothko and similar) as well as techniques of music minimalism through sound design and original soundtrack. The protagonist's contact with heptapods (extraterrestrials with seven limbs) not only results in deciphering their written language but in her own epiphany: going through transcendental experience she is given a gift of foreseeing her future and making life changing decisions.
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- Strengthening intercultural dialogue by cross -border cooperation projects in the field of cultural tourism
- European territory is marked by the roads of intercontinental migrations, redefining borders and the effect of colonialism and multinational companies. Intercultural dialogue at the international level is irreplaceable among neighbours. The subject of this paper is practical policy of intercultural dialogue which is based on the cross-border cooperation in the field of cultural tourism in Serbia, Bulgaria and Romania. These countries were considered due to the fact that the establishment of intercultural dialogue in this part of Europe was realized primarily through projects of cultural tourism within the cross-border cooperation programme (Pre-Accession Assistance Program EU 2007-2013). The study provides an answer to the question how to connect the strategy of cultural development and the development of tourism (cultural tourism) at the local and national level, in order to strengthen the intercultural dialogue.
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- Students' perception of the role of culture and cultural heritage in forming of the national brand
- This paper deals with the national brand as combined thoughts, feelings and images that certain groups can have about their own country or a foreign one. This paper also analyzes how this image is being constructed, as well as many economic and political consequences of a positive national brand that a country can have. Special attention is given on how students, future leaders, see the role of culture and cultural heritage in improving the image of Serbia in the world.
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- Subjectivity, existence and structure
- This paper reconsiders some aspects of the treatment of structuralism by Sreten Marić in his introductory essay to the Serbo-Croat translation of Foucault's classic work The Order of Things ('Existential Fundamentals of Structuralism', 1971). The central topics of this treatment are grouped and analyzed under three principal titles, corresponding to Marić's discussion of the then-fashionable thesis of the death of Man, to his scrutiny of the leading role of linguistics as a future paradigm for social sciences, as well as to his reflection on the limits of structuralism. It seems noteworthy that this early examination of the Foucault's structuralism may be considered as an anticipation of further development of this author, which would eventually lead him back, in his last books, to the complex of questions concerning the philosophical status of subjectivity.
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- Subversive trademarks of manga culture in the context of popcultural global village
- In spite of being initially produced for local audiences, Japanese comics - manga - successfully transversed the national borders and increased the economic and cultural significance of Japan. Manga influence has been recognized within cool Japan domains of pop culture industry - film, music, anime, video games, merchandising. Drawing on Stuart Hall's notion that popular culture is a space of constant tension and struggle, I reinvestigate the subversive trademarks of this "juvenile" Japanese medium, in terms of visual and narrative style, as well as its mechanism to generate resistance to American mass culture hegemony. Furthermore, the emphasis is on a controversial lolicon genre which can be read as manga rebellion against conservatism in the realm of fiction.
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- Suffering of the body as a way to worship on the example of Antipsalm by Novica Tadić
- The paper discusses the concept of Christian suffering of the body as a worship motive on the example of the poem Antipsalm by Novica Tadić. Following Byzantine aesthetics and the aesthetics of asceticism, we interpret suffering of the body as a kind of Christian struggle which strengthens our faith in God. The stronger the suffering of the body, the greater the faith in the Lord. The more numb the body, the stronger the soul. In most previous interpretations, the poem Antipsalm has been proclaimed as the highest kind of a poet's aesthetics of the ugly, as a painting of the demonic and evil world. This paper aims to show that this Tadić's poem is actually an inverted psalm, and that invoking torment and evil in this song is only for the purpose of strengthening faith in the Lord and bringing pagans to faith.
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- Symbolic boundaries
- The author uses the concept of symbolic boundaries to analyze cultural origins of social divisions. The analysis begins with consideration of Bourdieu's idea of how cultural styles correlate with class formations, and is followed by a discussion regarding a strict division of culture into two poles - the popular and the elite culture. The main theories and typologies of taste are presented at the end of the paper, together with a discussion about taste-based social differences and the structuring of cultural features into stylistically coherent forms - lifestyles.
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- Symbolism and imagination of the medieval period
- The French Symbolist painter Gustave Moreau often used the motifs of fantastic beings and animals in his works, amongst which the unicorn found its place. Moreau got the inspiration for the unicorn motif after a visit to the Cluny Museum in Paris, in which six medieval tapestries with the name "The Lady and the Unicorn" were exhibited. Relying on the French Middle Age heritage, Moreau has interpreted the medieval legend of the hunt for this fantastic beast (with the aid of a virgin) in a new way, close to the art of Symbolism and the ideas of the cultural and intellectual climate of Paris at the end of the 19th century. In the Moreau's paintings "The Unicorn" and "The Unicorns", beautiful young nude girls are portrayed in the company of one or multiple unicorns. Similarly to the lady on the medieval tapestry, they too gently caress the animal, showing a close and sensual relationship between them. Although they were rid of their clothes, the artist donned lavish capes, crowns and jewellery on them, alluding to their privileged social status. Their beauty, nudity and closeness with the unicorns ties them to the theme of the femme fatal, which was often depicted in the Symbolist art forms. Showing the fairer sex as beings closer to the material, instinctual and irrational, Moreau has equated women and animals, as is the case with these paintings. Another important theme of the Symbolic art forms which can be seen on the aforementioned paintings is nature, wild and untouched. The landscape in the paintings shows a harmony between the unrestrained nature and the heroes of the painting, freed from strict moral laws of the civil society, or civilization in general. Putting the ladies and the unicorns in an ideal forest landscape, Moreau paints an intimate vision of an imaginary golden age, in this case the Middle Age, through a harmonic relationship of unicorns, women and nature. In that manner, Moreau's unicorns tell a fairy tale of a modern European man at the end of the 19th century: a fairy tale of harmony, sensuality and beauty, hidden in the realms of imagination and dreams.
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- TV digitalisation in Serbia
- Contemporary researchers believe that, in the near future, a convergence will be developed towards all portable networks having sufficient capacity to transmit all kinds of massages - from data to video, in real time, and towards a choice of devices allowing certain contents to be followed depending on circumstances. In other words, all content will be available on all types of terminals. News will be followed on PCs, e-mails sent from TV receivers and databases will be searched on mobile phones. Moreover, it seems that viewers will create their programmes, programme schedules and receive information when suitable to them. 'On demand' services will be dominant services in future. This situation leads towards the division of the audio-visual sphere into two categories: on the one side, there are creators and owners of content and on the other there are transmitters of content. If we know that each portable channel and terminal device has its own characteristics, we can conclude that a producer and an owner of content have to process it in such a way that it can be adapted i.e. easily adapted for distribution over various channels and reception at various terminals. At the moment, televisions and production houses still have a certain type of monopoly over the production of audio-visual programmes. Exploiting and sustaining this advantage is one of the important challenges imposed by the development of digital communication. Due to everything mentioned above, the authors of this paper are conducting a survey on consumers of the media content. So far the pilot survey is carried out only in Vojvodina, and the purpose of the survey is to find out whether respondents are familiarized with the digitalization process.