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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- The media culture of Đurčići people
- The study of the media culture of the Đurčići rural micro-community members on the Papuk Mountain in Slavonia from 1945 to 1991 indicates integration of this population which followed global developments in the Yugoslav socialist state and also integration in McLuhan's global village, in accordance with their financial capacities. Reception of the press, film, radio and television takes place at a collective level, a form typical of 'folk' in general, which opens the possibility for creating a media culture habitat in the family and in the village. Acceptance of new media, according to the old patterns and certain generational variations, confirms Eric Hobsbawm's thesis that rural traditional patriarchal communities are not encapsuled and fossilized, and that their survival is possible thanks to the occurring changes. The new media in this micro-community have the integrative function.
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- The medieval heritage of Japan and Byzantium in Serbian literature of digital modernism
- The basic hypothesis of this research belongs to the field of interdisciplinary studies of Serbian literature, especially of the changes in literary paradigms, formed on the boundary of interactions between Slavic and non-Slavic literatures, which reached significant dynamics in the unifying perspectives of the new media. The main assumption of this analysis concerns the relationship between the elements of medieval Byzantine and Japanese literary heritage in the context of the development of Serbian literature with certain elements of digital modernism.
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- The moving pictures of terror
- Analysis of Yugoslav horror subgenres enables reading film contexts. This form of fantasy reveals the fears, anxieties, hopes and objectives of the society. Serving as a means of distorting the dominant values, it also figures as their criticism. Flirting with the subgenre of apocalypse, drama, slasher movie, ontological film and even comedy, horror films show the reverse side of social reality. In this sense, the Yugoslav horror indicates fear of disrupting social relations, porosity of values built during socialism, anxieties of economic meltdown, the relativity of concepts such as progress, freedom and a better future. While the narrative of some films can be read as a critique of the present, others anticipate future conflicts and point out political problems in the rise of ethnical and confessional conflicts.
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- The narrative games of Orhan Pamuk
- The paper deals with narrative techniques and methods in the novels by Orhan Pamuk that show a fascinating variety. It has been observed that the opus of this celebrated Turkish author consists mainly of novels different in themes, languages and styles. His prose is marked by a constant experimenting with the form finding some new and unused solutions that bring innovations from the narrative aspect not only to the contemporary Turkish literature, but to the global literature too. From his first novel, Cevdet Bey and His Sons (1982), until the latest, A Strangeness in My Mind (2014), Pamuk has been constantly occupied by narrative games, succeeding to surprise his readers with new narrative techniques and styles.
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- The new University Centre of the interwar Belgrade
- From the end of the nineteenth century, the urban development of Belgrade tended to communicate political and national ideas through articulation of public spaces. However, the state monopoly caused an excessivesubordinationtopoliticaleventsandbureaucraticmechanisms, so that the execution of urban plans was usually incomplete, due to changes of power or competences of various administrative institutions. One of the few most complete urban areas, which has retained the same purpose until this day, is the University Centre along the Boulevard of King Alexander in Belgrade. The history of this location began in the second half of the 19th century, when Prince Mihailo Obrenović organized the first gallop races in Belgrade on that site. Towards the outbreak of the First World War, the Belgrade University was given this area for the location of a new University Centre. Development of the complex began during the interwar period, with edifices designed by eminent Belgrade architects, but based on two different urban concepts and plans: one was legal and valid but the other was actually implemented in practice. In spite of being harshly criticized by socialist authorities, the same principle persisted after the Second World War. Although it was perhaps one of the most successful complexes built in Belgrade over several decades, the University Centre is not recognized as such in the visual perception of citizens, mostly because of the lack of blending or a high-quality urban concept. The transformation of this area reflects all the phenomena that dominated over urban development of Belgrade in the last 150 years, and illustrates refraction of different professional premises and political attitudes and desires.
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- The new culture of communication via mobile phones among young people
- This paper presents results of an empirical research analyzing aspects of mobile phone use among young people and its impact on everyday social life, communication and social interaction. The mobile phone cannot be reduced to a mere material object, a functional and practical product of global society, but it also has an important social and cultural dimension and needs to be studied systematically. The main focus of our theoretical and research efforts is the sociological and cultural phenomenon of the mobile phone use among young people, and its impact on everyday social life, social relations, patterns of activity, communication and interaction, emphasizing the relationship between the individual and mobile telephony. This paper examines creation of a new culture of communication where the phenomen is explained by texting, creation of new linguistic forms, emphasizing redefinition of traditional notions of time and place, creation of new spaces such as conversational space. It also considered concepts of the private and the public, in relation to notions of the socially acceptable and the unacceptable. The study was carried out using a structured questionnaire on a sample of 302 respondents in the target area of Split and the surrounding places. The field phase of the research was conducted during May and June 2010. Young people were selected as the target research population because they are thought to be 'pioneers' in the use of information and computer technologies. Information and communication technologies in general and mobile telephony in particular have become a youth technology. Young people are the largest group of consumers of mobile technology and are often considered to be pioneers in their adaption and evolution.
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- The norm, women writers and the truth
- In this paper the author classifies and explains some of numerous examples of marginalisation of significant Serbian female authors from the second half of the 19th century and the beginning of the 20th century - Milica Stojadinović Srpkinja, Draga Gavrilović, Mileva Simić, Danica Bandić, Milka Grgurova, Jelena J. Dimitrijević. Their works were negatively evaluated by the dominant intepreters, academic professors and the historians of Serbian literature. Contrary to expectations their criticism was not supported by reasoning. Historians also ignored relevant historical events. To to acknowledge a few female authors meant to present them inadequately, mainly as beautiful women or spinsters. Some other discriminatory facts in presenting female writers were connected with the length of analyses, attitude and the language. The dominant interpreters usually named incomplete list of women authors' works, regularly omitting their translated pieces. There was even an open statement that the author's gender was a starting point for attributing discriminatory values to male or female authors, in favor of the male ones. As one of the most manipulative strategies, one can point out the obstructions to research and publishing of women authors.
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- The oneiric defiling of reality
- Practically from its inception, the Enlightenment ideal of rationality was equally criticized and fostered in European intellectual tradition. The belief in reason as an exclusive property of human mind capable of reproducing an authentic image of reality quickly revealed itself as highly disputable from the standpoint of philosophy and art, as well as from the angle of particular scientific disciplines (above all, psychology and anthropology). Within the sphere of contemporary literature, one of the greatest adversaries of the Enlightenment idea of the rationally apprehensible nature of reality is the horror fiction writer Thomas Ligotti. For this author, "the world as it is" has little or nothing to do with rational consciousness, and correlates more strongly with our deepest irrational fears which reveal themselves in feverish visions and nightmarish images. While establishing his personal and artistic worldview on the inversion of the usual ideas about reality, Ligotti creates a specific type of subversive prose: one that depraves the world of any higher meaning and denies all possibilities of consolation to humankind. In this paper I pose the question whether such disillusionment may leave any possibility for an individual to act independently, be it in a subversive or non-subversive sense of the word.
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- The other face of the one
- The problem of resurrection of the body was and has remained the cornerstone of the Christian faith and hope, but also a crossing point of different doctrinal attitudes that marked the entire history of Christianity. This paper tries to illuminate the phenomenon of the body from several angles, through perspective of the doctrine of the resurrection of the dead, providing some of the modern theological answers. References are also made to the Christian iconography of the East and the West, regarding the aesthetics of Christ's resurrected body, which with the sum of symbolic relations opens a completely new epistemological, theological and aesthetic field for understanding the resurrection as the most important secret of human existence.
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- The palace complex at Terazije
- The Palace Complex at Terazije was established between midnineteenth century, and the beginning of the third decade of the twentieth century as the first royal residence in Serbia designed and built in accordance with an urban plan. It formed the most important micro ambiance of the central urban zone that started a transition from oriental Belgrade to a modern capital with a European character. The development stages in the formation of the complex, starting from the initial construction of the Simić building (The Old Residence, 184042), through the decoration of the Palace garden and yard, construction of the Little Palace (around 1845), followed by the Palace of the Crown Prince Mihailo (Ministries of Foreign Affairs and the Interior, 1858), and construction of the Old (188184) and the New Royal Palace (19111922), indicate complexity of the sociopolitical circumstances of this period in Serbian history, but also of the development of architectural, stylistic and artistic characteristics of the capital's architecture. Engagement of leading architects, artists, decorators and craftsmen in designing, decoration and furnishing of the edifice and the premises of the palace complex reflects a general picture of the transforming Belgrade's spiritual and cultural climate, through changing its daily life habits, in which the royal residences often served as a model and an initiator of change. Gradually, a complex mosaic was built intertwining the artistic and the political concepts: from the original idea of the architect, Aleksandar Bugarski, for a tripartite composition of the complex, from which only the Old Palace of King Milan Obrenović was realized, to the completing of the complex with the New Palace according to the design of the architect Stojan Titelbah, to converting the New Palace into a museum institution (The Crown Prince Pavle Museum, 19341936), and afterwards to reconstructing both structures and the entire area (194753) into a seat of new state authorities. Establishing a harmonious relationship between the structures and their natural and urban environment emphasized specific values of the area based on its accessibility and availability.