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.
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- The palace of the Serbian Academy of Arts and Sciences and the public space of Knez Mihailova Street
- Following the transformation of the urban area of Belgrade from a provincial Ottoman city to the capital city of Serbia, ideas for the architectural design for the Palace of the Serbian Royal Academy in Knez Mihailova Street which started to develop at the turn of the 20th century, mirrored a change of taste and influences in the style of architecture. Dominant at the time of the proclamation of the Kingdom of Serbia, the design and building projects of the architect Konstantin Jovanović represented a culminating impact of the Vienna Ringstrasse architecture. Rejecting the concept of Viennese academicism at the time of political confrontation of the Serbian Kingdom with the Dual Monarchy towards the end of the first decade of the twentieth century, was followed by a search for a modern architectural approach. A new design with architectural elements of the Viennese FindeSiécle, Paris Art Nouveau and the prevalent spirit of Belle Époque appeared with the projects by the architects Andra Stevanović and Dragutin Đorđević. Suspension of constructions due to the outbreak of the WWI and changes in the architectural climate in Belgrade after the war have led to a rapid devaluation of modernity of the buildings whose construction was completed in 1924. However, bringing an echo of modern consumerism with the shopping passage and elegant stores on the ground floor, coated with abundance of its Belle Époque façades, the Palace of the Serbian Royal Academy became a symbol of Knez Mihailova Street in the main promenade of Belgrade, as a unique public space.
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- The pasts they had lost
- The issue of Serbian heritage in the case of the Archbishopric of Karlovci is inseparable from that of the collective self-identity of this 18th century ethnic in the Habsburg Empire. The creation and construction of the Serbian view of its past and culture was not unique, but belonged to the greater mechanisms of collective self-awareness current in the European states at the time. The Baroque man was the first individual who fully explored the power and influence of the past on the present events; also the first to search for the borderline which separates the past from history, the individual or collective experience from the record for posterity. Henceforth, the Baroque man realized the full potential of the rewriting and editing of the past, of the fabrication of history and its integration in the greater narrative of validity and legitimacy. And employed for the glory of faith, the Church, and the absolutism. But what is the past? And how does it differ from history? What is memory in relation to the past? Even today this presents a highly contested field among historians and historiographers, far more complex than it was seen in the Baroque age. It could be said, that awareness of the past is common to all individuals, and that it shares both the mechanisms and its subject matter with the concepts of history and memory. But the past is only at the beginning of the creation of history, since through history we validate and clothe it in the mantle of recognition, necessary for its acceptance - we institutionalize memory.
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- The phenomenon of French cultural influence in Yugoslavia between the two world wars
- The development of multiculturalism is increasingly becoming a hot topic in our modern world. On the other hand, it seems that we all witness an extreme predominance of the popular culture of only one part of the world and of the so-called global culture. For this reason, we think it is necessary to look back at the relatively recent past and show how our cultural environment was influenced by numerous foreign countries. Given that the description of all these influences in one paper is virtually impossible, the aim of this paper is to present the most significant examples of French cultural influence, in terms of its relevance for the rise of our culture, in various domains of social, scientific and cultural life in Yugoslavia in the period between the two World Wars. It is of critical importance that a wider public be more and better informed about Serbian-French cultural ties, instead of limiting this topic to a narrow circle of experts in the field of Romance or Franco-Romance studies. Using the descriptive and analytical methods, we wish to demonstrate that in the period between the two World Wars our country was well acquainted with all developments of the French culture, from which we drew important knowledge and experience. Moreover, some art movements happened to develop simultaneously in both countries, which is indicative of the fact that our society could boast of considerable was innovative and creative potential at the time. We hope that this small contribution to the study of the French cultural influences in our country, in the period when these influences were most strongly felt (between the two World Wars), could shed some light on the phenomenon of a massive and incredibly rapid cultural rise of one small country devastated by numerous and brutal wars.
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- The place of space in soul, or re-visioning psychotherapeutic fantasies of space and body
- Fantasy of space plays an important role in therapeutic psychology and covers almost anything occurring inside subjects of psychotherapy - we work on the processes which develop inside a family making it dysfunctional; we work through and clarify the primitive mental states which occur in the unconscious of the analyzand; we disentangle the problems happening within the transference-countertransference relation; we help people who find themselves in blind alleys; use analysis in order to aid a client to return projections back into him/herself; we apply body techniques to discover where split up traumas are hiding themselves in the body etc. Concepts so precious to therapists, without which their work in inconceivable - projection, introjection, internalization, withdrawal, wholeness, insight, reflection, embodiment, transference, replacement, substitution, regression, unconscious, subconscious, scape goat, triangulation, contact, phenomenological field, container, growth, real-unreal, subject-object and so forth - are derived from the idea of space or have relied on he idea of space. This work deals with hermeneutics of this dominant fantasy of space, which can then be used to develop an quite different paradigm serving as a phenomenological dwelling to above mentioned processes and contents of our therapeutic.
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- The poetry of monasticism(s)
- Reaching out to distant Japanese culture, in an attempt to bring it into correlation with Serbian medieval tradition, a comparison is made of The Tale of Saigyo - a story by an unknown author about one of the legendary poets of the ancient Japanese literature from the 13th century, with several motifs from our haghiographies by Domentian and Theodosios. The poet-monk Saigyo is compared with Saint Sava, as a writer, as well as with Peter of Korisha, as an ascete. Special attention is paid to the motif of departure from this world, which is simultaneously an entry into the world of literary creation, as the writer-monk also appears as a literary character in later writings.
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- The possibility of including the remaining windmills in the tourist offer of Vojvodina
- At the end of the eighteenth and in the early nineteenth century, Dutch, Hungarian, Slovak and Serbian builders built more than 280 windmills in Vojvodina. As the most advanced facilities for grinding grain, windmills used the drive energy of the northern and the northwestern winds and facilitated the lives of the people of that time. Two centuries later, based on a field research carried out in Vojvodina in the period from 2012 to 2014, it was determined that eleven windmills still physically exist. Despite the fact that most of them are protected by law, these important monuments of folk architecture are in very poor condition and have lost their function. The aim of this paper is to point to the examples of good practice and the inclusion of windmills in the tourist offer of European countries as well as the possibility for the revitalization of the remaining windmills in Vojvodina as important cultural and historical monuments and an integral part of the history, culture and heritage of our country - as a chance to enrich the tourist offer of Vojvodina.
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- The princely palace in Savamala
- The princely court in Savamala has had an active and powerful role in constitution and promotion of the dynastic propaganda. With reference to the dual nature of monarchic government, a princely court does not exclusively refer to the residence of a ruler, but also stands for the institution of government that is a carefully chosen and structured space with the developed mechanism and manifesto of power. Planning, functioning as well as visual identity of any princely palace were always direct reflections of the royal image and the very nature of the actual regime. The palaces of the Serbian rulers changed abruptly in the 19th century, both in their positions and visual contexts, court ceremonies and the level of openness to the specific public. Those changes that have taken place at princely courts reflected the overall image of historical and social transformation of the Serbian state. In the early stages of his government, Prince Miloš understood and valued the power of political propaganda and already in the early 19th century he started and exerted an expensive public manifesto of power as his palaces had a crucial role in this important part of political programme. The choice of Serbian capital represented a key political issue. Prior to the official recognition of the autonomy and hereditary royal status, princely palaces were located in safely hidden landscapes in mainland Serbia. Now, when newly liberated principality was yet to catch up with the rest of the modern European states, Prince Miloš wanted Belgrade for its capital. The process of making the state/court complex in the district of Savamala revealed all the specific features of Belgrade and its urban development during the first half of the 19th century. Thus, raising the princely palace in Savamala will prove to be a crucial step in transformation of Belgrade into a modern European city.
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- The problem of definition and operationalisation of the social exclusion concept
- Social exclusion appears as one of the main problems of modern societies. It is a process in which individuals or groups exclude themselves from opportunities, possibilities and rights arising from political, economic and social spheres, as guaranteed by the organization of a particular society. One of the basic problems that sociologists and other researchers encounter is obviously different, often incomplete definition of social exclusion, which in many ways makes research difficult. For this reason, the problem of defining and operationalising of the notion of social exclusion is a very important step in investigating this phenomenon. There is a very small number of attempts to operationalise this term in literature, and there is often no difference between the concepts of social exclusion and poverty, since the concept of social exclusion is often used as a substitute for the notion of poverty. Within this paper, the problem of defining social exclusion, basic approaches, dimensions and its operationalisation will be discussed. The subject of this research is an analysis of the social exclusion concept. The aim of the paper is to use the method of definition of the term through creation of a precise and complete primarily sociological definition of the social exclusion concept and through analysis of its dimensions, to operationalise this notion and find indicators relevant to this research.
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- The production of meaning through language of photography
- By developing modern theoretical approaches, starting from linguistics, through semiotics to the theory of visual culture, photography is no longer considered as an objective and realistic visual representation of what was in front of the camera lenses at the moment of taking a picture, because it is also necessary to take into account protocols and codes that generate our visual experience. Although the photograph looks convincing, clearly and easily understandable because of its 'apparent' visual similarity to what it shows, the way we view the photograph is not based solely on our natural perceptual ability. Scopic regimes are directly dependent on existing social practices, especially the language we use. If by language we mean any communication system that uses signs organized in a certain way, then visual representations can be considered as a practice of producing meanings determined by the visual language that will be the subject of our research. In the photograph we see and recognize what is depicted not only because photograph resembles it, but also because it belongs to the type of representation that we have learned to 'read' in a certain way. The relationship between the photograph and the object is not direct and natural, but conventional. Similarity is not based solely on the matching of their visual properties, but also on the practices that are involved in the production of meaning.
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- The quality of TV programmes for children in Serbia, as seen by children and their parents
- There is no research in Serbia about media habits of children or the quality of TV programs for children. This research was done on 458 children aged 911, and 412 parents from four towns in both suburban and rural areas in Serbia. Most results concur with the findings of foreign researches. The main results are: almost half of the children are unselective when watching different programs on TV, usually without parental knowledge or guidance; children are significantly more satisfied with the quality of television programs than parents while the parents think that the quality is average; two thirds of parents significantly underestimate the influence of TV programs on children; programs for children contain a lot of violence; both children and parents think that the worst part about programs for children is that they are not educational or inclusive (very low rate of socially disadvantaged groups in these programs). The results also show that TV programs for children in Serbia have to be significantly improved and that the influence of TV programs on children and adolescents has to be addressed.
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- The question of cultural policy as a policy
- The relationship between politics and culture in a multiparty representative democracy is in its very essence problematic. On the one hand there is the cultural sphere, stressing that culture and the arts must be independent and autonomous, even if - by force of circumstance - they are financially dependent on government. On the other hand, cultural policy as public policy cannot simply be excluded from the political system and delegated to the connoisseurs. The ruling policy which won the election has a democratic mandate to regulate public affairs - even in the field of culture. Due to the high specialization of social subsystems, which have become operationally closed organisms, there is an even greater threat of democratic deficit if politicians have to stay away from culture and arts. This attitude shakes the very foundations of democracy as a political form of government in which the governing power is derived from the people. A positive alternative to the arm's length principle as an insulation of arts from politics, which potentially reduces the ability to attract and retain political support, should therefore be replaced by an arm-in-arm approach, i.e. a policy of interaction between the political authorities, professionals and citizens/users. This new deal should be based on inclusion in the political process (participative democracy) and the dialogue between them (deliberative democracy). The article proposes some elements that would enable this process. The modern democratic formula is hidden in the winning combination of a strong state and strong civil society, where the magical balance between differentiation, politics and professionalisation is to be found. Only this balance can mutually neutralize the various dangers such as: differentiation with the unresolved problem of coordination and integration, politics that can change into partocracy, and professionalism that can succumb to opportunism and lead to technocracy. At the center of this balance lies the need for re-affirmation of the public value of culture which presupposes its re-politisation.
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- The radical party concept for Vojvodina's unification with Serbia in 1918
- When the World War I broke out, the Radical Party ceased operating along with all other Serbian organizations in Austria-Hungary. Its leaders spent the subsequent war years in the internment. The above mentioned Radicals reactivated during a rather tumultuous autumn in 1918. The Radicals from Srem, led by Žarko Miladinović, started their cooperation with the National Council from Zagreb. Their main activities were to protect the Serbian national interests and to demand an unconditional unification with Serbia. The Radical leaders from Bačka, Baranja and Banat headed by Jaša Tomić were very cautious in their public appearances because they were not sure of the future of the Hungarian borders. It was not until the beginning of November that the Serbian National Board was formed. A number of such bodies were formed in many places all over Vojvodina. The culmination of these activities was the Great National Assembly held in Novi Sad on November 25th. Due to the Radicals and Jaša Tomić especially, a decision to annex Bačka, Baranja and Banat to Serbia was made in this Assembly: they decided to join them directly to Serbia and not through the National Council in Zagreb, which was the other alternative. A day before the above mentioned event, representatives of the National Council from Srem also expressed their support to a direct unification with Serbia at their meeting held in Ruma.