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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- Talkable things
- One of today's most influential definitions of the concept of the work of art comes from the American philosopher and art critic Arthur Danto. Danto says, in order to be a work of art, an artefact must (1) be about something and (2) embody its meaning. Many authors have criticized this definition, one of those being Noël Carroll, who gives examples of objects that are not works of art but meet the requirements of Danto's definition. One possible answer to this criticism is offered in this essay. It offers an understanding of the objects from Carroll's examples (and similar objects) as aesthetized, i.e. specifically shaped to partially cause an aesthetic reaction. Taking this into account, the entire area of human productivity is shown as a continuum within which some objects carry "more" or "less" aesthetic quality.
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- Tarzan and James Bond
- This text encaptures in detail the way all important ethical media moments in the MGM Tarzan series with Johnny Weissmuller and their subliminal deep religious context go along with all sensational neck breaking relationships of Ian Flaming's secret Brit agit prop MI6 agent 007 had on the screen with numerous woman. By comparing 007 post modern Intelligence Service myth to imperialistic recidive myth of white man in charge of black Africa Tarzan - exotic and erotic hero role model of earlier 30's crisis era - we see a completely changed and sexist attitude to woman of 60's and beyond. Almost in every film from the first two decades Bond kills, hits or almost joyfully rapes his girl friends and they seem to just adore it making it endlessly interesting sado-mazo subject for female studies media dealing with ethics. However, a deeper analysis shows us Bond just as a sad clown in Roger Moore's film 'Octopussy', clumsy when he ought to be in aid of his real loved ones. Bond would obviously be much happier to be in Tarzans shoeless shoes as Lord of the jungle and servant to his own wife than as a mere servant to her Mayesty's secret service.
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- Tavern and the internet sociability
- Although the tavern as a social institution and the internet as technology do not constitute phenomena of the same kind, comparing them has sociological significance in the context of tavernology. In this paper, such comparison will include comparing the tavern and the internet sociability based on the functions that theorists attach to the one or the other phenomenon. The basic hypothesis is that most functions attributed to the tavern can be applied to the internet and vice versa, which points to the conclusion that what is at the core of the social aspect of the internet use is, in fact, the copying of patterns of sociability from a real into a virtual space. Consequently, the tavern and the internet sociability are not conflicting but complementary concepts. The internet sociability in fact represents 'the version 2.0' of its tavern counterpart, because it is derived from the patterns of social relationships peculiar to the period of modernity which the global social network upgrades, shifts to a virtual space, and at the same time, as each new phenomenon does, creates new controversies and dilemmas.
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- Tavern as our everyday routine and a behavioural pattern
- In the form of a sociology essay, the author analyzes the tavern as a sociology and culture institution, lifestyle, part of our everyday routine and a pattern of behaviour. All is backed by excerpts from the works of famous authors who wrote about the tavern. In the end, the essay points to 'the other face of the medal' i.e. to the pathology of the tavern peaking in alcoholism.
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- Tavern names
- The paper offers a semantic and structural systematization of the names of hospitality facilities in the Serbian speaking regions. Possible motives behind the listed names are also examined.
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- Taylorization motifs in Fritz Lang's film Metropolis
- The Fritz Lang's cult film Metropolis seen in the context of ideas presented by Frederick Winslow Taylor, the father of scientific management, reveals a powerful message that the modern cult of efficiency, according to which things can be done "in one best way", dehumanizes labour and turns humans into machines thus preventing their spiritual accomplishment. The paper examines the presence of Taylor's ideas in Germany during the 1920s, as well as their global impact on the art and culture trends, underlying their dystopic potential. Through intersemiotic references to other literary and cinematographic works, primarily Yevgeny Zamyatin's novel We and Aldous Huxley's Brave New World, this interdisciplinary study confirms conclusions of certain authors about the crucial importance of Taylor's ideas in understanding the world we live in.
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- Technical aspects of the digitalization of media
- This paper begins with general introduction and analysis of the definition of the media. Strong correlation exists between the manner of communication among people and the level of society development. Five civilization levels are presented, covering 6000 years of human history. The fourth and fifth civilizations are covering the period since the beginning of the 20th century. The fourth civilization is known as the civilization of electronic media. The term of the signal as a message equivalent is the most important term in the analysis of the communication process. Transition towards the fifth civilization lasts for more than thirty years. One of the most important steps in this process is the signal digitalization. This process consists of three main steps and it is explained here in very simple terms, with no mathematics. Several popular digital components are explained, primarily their memory size and capacity. Digital data transmission stands at the end of the digitalization process. Bit rate has been a limiting term for further wireless communication development. Some hints explaining the way of circumventing the bit rate problem are presented.
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- Technological progress and obsolescence
- The text refers to specific forms of representation of visuality and visual works of art in new social media, or more precisely on Facebook, currently the most popular net of the type. Referring to characteristic examples from the actual media practice, the author demonstrates two types of conditionality connected to 'transfer' of visual information from the classic media and institutional environment of museum and gallery exhibitions to the domains of cyber space and social net communications. The first conditionality is defined by the technology as such, i.e. the structure and specific forms of communication or the expected users behavior on the Facebook; the other is marked by digital and multimedia approach to aesthetics and, more often than not, by the aesthetic dilettantism of users' expression on the net. In this sense, the technology eases and democratizes the aesthetic expression of the Facebook users, but in the same time threats to impoverish the aesthetic dimension of transfer and exchange of visual messages in this media, and reduce it to 'obsolescence' of expression, kitsch and trash aesthetics, with final result in general degradation of aesthetic taste visible on the Facebook social network.
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- Technological revolution, media existence and the role of journalism in search of a sustainable model
- New technologies and new media certainly are one of the biggest challenges for the media and journalism in their original concept and tradition. The result is a number of innovations and problems in practice, as well as a variety of predictions as their theoretical reflection. Today, the media and journalists operate in conditions that have significantly changed the entire way of their functioning, as well as the media and journalistic culture in general, and have thus influenced the fact that this moment is often seen as an epochal turning point and a fundamental change in the traditional functions of journalism and media practice, as well as their role in contemporary culture. In order to understand the current circumstances, it is necessary to recognize not only the global importance of the role of the media and the original principles of journalism, but also the actual change in practice - as comprehensively as possible - and to present implications of the so-called new technological revolution. The ultimate goal is to find the most reliable lines of thinking when it comes to the future of the journalism, which is the essence of the media world, no matter which way we look. If we try, it is necessary to observe the situation from different aspects and thus analyze global challenges and changes that have already occurred. Of course, they should not be viewed as isolated incidents, and due to their complexity still need to be observed in as much detail as possible. It seems that one of the ways to study them could be the one that we shall try to offer in this paper - through observation of: 1 Altering of the public role and position of journalists and journalism; and 2. Changing of the media and journalism everyday organizations and work. The first means an external reflection of journalism and how it affects changes in other spheres of life, and conversely, how these changes affect the public role of journalism. The other one is an internal reflection of the changes in terms of everyday journalistic (and editorial) work - the tasks and how they are carried out. Their synthesis may perhaps mean the ability to reach a valid assessment of the direction in which we will be working and reporting further. It puts the focus on the dimension of the managerial and editorial features in the media, which is always crucial in terms of their orientation and ways of working (although often ignored), and therefore the ways in which journalism occurs. That also involves one of the key issues when it comes to the media and journalism today - the question of a sustainable model of journalism and the media (in terms of business, but also in terms of quality journalism) in the 21st century.
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- Technology pathways
- Conventional theory of economy claims that technology and technological development are key factors to economic growth, while economic growth is central to capitalism and institutions created on this ideology. In this paper, the importance of technological investments will be re-examined for both national and global economic growth, having in mind the notion that technological innovations depend on the institutions of the free market system. The growth of the national economy also depends on the employment rate. Therefore, the idea that technological progress might devalue human labour regardless of the level of education will also be discussed in this paper. Since technological innovations bring changes within the actual socioeconomic system, they also bring anxiety.
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- Television as a special case of media education
- Television as a widespread and most influential media represents a special subject of the media culture and education. Observing television includes analysis of its distribution and reception, basic characteristics and possible interpretations. To understand the scale and nature of the impact of television in Serbia, this paper provides an overview of the television system and the most watched programs - predominantly of informative and entertaining nature. It is stressed that in the creation of programs a market principle prevails, which often pushes the socially responsible role of television. The technology and the production processes are presented in order to underline the formal qualities and to understand the conditions under which the television content is created. The paper emphasizes artificial nature of the television products and their imperative for creating the illusion of reality. Finally, it suggests a semiotic approach as a practical basis for the interpretation of television messages, which leads to ideological analysis of the sending and receiving of messages. The significance of this research could be a comprehensive analysis in general which indicates possible angles of approach to the meanings of television. In media education it would relate to ethics of the media creators and the formation of a critical tool in consumers against the mechanisms of media manipulation.
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- Television audience in digital era
- Defined mostly as anonymous and homogenous mass consuming the content from the small screens, in theoretical discussions, television audience has passed the long way from being defined as passive observers, i.e. mere recipients of the messages in the initial researches, through active interpreters who use television to satisfy certain needs and to the latest predictions about 'viewsers' as active, individual creators of programmes in the context of new digital era. Development of new information technologies that lead to digitalization of television and convergence of the media environment has placed the demand on audience researcher to find new theoretical perspectives, not only related to the 'activity' of television audience, but also related to redefining the very meaning of television and its various uses. The paper presents and analyses these theoretical contributions to understanding of the reception side of the digital television.