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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- Contemporary visual art as mass practice
- In the era of mass production and consumption, the emergence of new technologies and opportunities of quick and easy reproduction, Duchamp with his 'readymade' objects opens a new field of artistic activity which has allowed the artist not only to present industrial products as art, but also to keep their industrial, not an artistic look. This allows the creation of a new form of 'creation' and 'exhibition' - Internet which is, as a digital 'democratic' creation and other modern technology that goes with it, available to everyone, not artists only. Given that the artist is no longer the only one who possess the skill and technical knowledge, art is what artist create, share and exchange with other people in everyday life. Contemporary visual art as if became a mass practice. It seems that everyone is an artist today, since everyone creates everyday and exhibits its' creations on popular web sites. Is this what Boys predicted with his thought that everyone is an artist? Life exhibits itself, and everyday life becomes a work of art. Process of self-documentation and its presentation to the public in the form of confession on web sites - the digital 'religion' became a mass obsession, because it leads to a double pleasure, even though it leads to double frustration too. In addition to enjoying the cathartic exposure of their life and their minutes of fame, the Internet users also experience double frustration in the misappropriation as the byproduct of this exposure - re frustration that occurs when the 'audience' do not pay attention to the offered exposure. Contemporary visual arts and the Internet are increasingly becoming 'time based' - projects which key feature is long time duration, repetition and documentation (archiving) of life itself. Artists and other people in the race to document all aspects of life, in fear of time passing and loneliness, are desperately trying to achieve mass communication.
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- Context
- This article presents different theoretical frameworks for analyzing the notion of context. It starts from linguistic interpretation as the earliest attempt of defining the context in relation to the performative: conventional and participatory context. Then, it continues with deconstruction of the context which represents breaking with the linguistic approach and, at the same time, raising the context to the level of a term. The next theoretical framework is the Bourdieu's concept of a social field as a field of forces that gives to the context a relational character - set of relations rather than elements - and sets it free from substantial recidivism. Nevertheless, the Deleuze's term of a rhizome and assemblage as rhizomatic model of connectivity makes a radical shift from dualistic matrix evident in all previous approaches: formalistic (artwork vs. context), linguistic (text vs. context, subjective vs. objective), deconstructivist (presence vs. absence, the recipient vs. sender) and the social field as a field of forces (in vs. out). The liquid context - the term taken from Bauman (liquid modernity) is a new framework for defining the context which is related to contemporary moment and contemporary art and includes achievements of all previous theoretical frameworks.
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- Contextual practices within The Roommate Artist in Residence Project
- The text examines contextual practices through the example of The Roommate Artist in Residence Project launched by the Visual Arts Department of Students' City Cultural Centre and performed at Students' City (New Belgrade student campus) in late 2014. While taking into consideration the local context and specificities, the text reveals the key aspects and strategies of participatory art applied within a specific project, namely: research and work with community, shedding light on a specific social problem, placing emphasis on the creative process and unforeseeability of the outcome of the art process, appropriation of methods and forms of everyday life communication in art projects, delegated performance. The problems of students residing at Students' City, no longer aparent for becoming habitual, were seen in a new perspective and attained transparency through the analysis of art activities of the internationally performing artist Aleksandar Jestrović or Jamesdean, the first participant to the The Roommate Artist in Residence Project. The text inevitably links the reflection of microcontext experiences with the examination of changes and courses developing in a broader social and historical context.
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- Contribution of Milena Dragićević Šešić to the understanding of interculturalism and transculturalism
- The paper analyses Milena Dragićević Šešić's contribution to understanding of the concepts of interculturalism and transculturalism in the theory and practice of cultural production in Yugoslavia, in the period from the 1980s to 2020, with a special emphasis on three important books that the author considers particularly representative for elaborating these concepts. The ways in which Milena Dragićević Šešić first introduces these concepts into Yugoslav theoretical and professional discussions, and then develops, applies and re-examines them, follows the developmental path of her overall theoretical, pedagogical and activist engagement over more than forty years of active work. The paper shows how the approach to the concept of multiculturalism and interculturalism in Milena Dragićević Šešić's works has developed through the interdisciplinarity and transdisciplinarity of her research and how it marked her approaches to cultural production, distribution and consumption, as well as her social engagement in the turbulent times in the Balkans from the twentieth to the twenty-first century.
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- Contribution of architect Danilo Vladisavljević to the transformation of the public space of Belgrade in the late nineteenth and early twentieth century
- Architect Danilo Vladisavljević belongs to the generation of architects who, at the turn of the XIX century, left a significant mark in the Serbian architecture. His public buildings in Belgrade, which were mainly designed in cooperation with other architects, contributed to the representativeness of the city, which, at that time, began to intensively take on the characteristics of major European centres. The main feature of his work was a pluralist style, which involved evoking romanticism, use of academic postulates and art nouveau facades. He built various residential buildings for influential citizens and implemented pioneering urban projects on the territory of Belgrade, Military Hospital Complex in Vračar. He also built facilities for military purposes such as the military barracks in Niš, Valjevo and Smederevska Palanka and two hotels in a prestigious location at the very centre of Belgrade - the 'Splendid' and the 'Union'. Especially fruitful was his collaboration with the engineer Miloš Savčić on multi-storey outlet buildings such as The Trade and Export Bank, Vračar Savings Bank and the industrial complex of the Belgrade Slaughterhouse. During this cooperation, Danilo Vladisavljević was responsible for the facades and for further development of Miloš Savčić's designs. His collaboration with architect Svetozar Jovanović on the Officers' Cooperative Building produced one of the most representative examples of secession architecture in Belgrade. In the process of transforming public spaces in Belgrade, architect Vladisavljević particularly gave important contribution through cooperation with Milo Savčić in realization of the complex of the Belgrade Slaughterhouse, as well as the pioneering urban complex of the Military Hospital in Belgrade. As an important architect from the turn of the XIX century, Danilo Vladisavljević deserves contextualization and actualization in Serbian architectural historiography, and his structures should be treated as an important part of the Serbian architectural heritage.
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- Contribution of the Serbian colonists to the sociocultural development of the Lugansk region in the 18th and 19th century
- The article is devoted to the problem of colonization of the Lugansk region by the Serbs. The author shows reasons for the resettlement of the Serb Frontier Troops to the territory of the Russian Empire in the middle of the 18th century. On the basis of historical sources, the problems in adaptation of these military colonists in the territory of Slavyanoserbia are analysed. Contribution of the Serbs to the economic and cultural development of the Lugansk region in the 19th century is characterized.
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- Contribution to the methodology of scientific research
- Measurability of truth in science occurs within the framework of methodology, which we also define as the science of science. It is often forgotten that science, as an activity of the spirit, rests on the philosophical assumptions that the truth exists, that it can be known, and that it is a value in itself. Bypassing these premises, that is, taking science as a thing that is given, often invokes cyclic phenomena in its spheres, in which not only there is no new knowledge, but old cognitions are constantly recycled, filling columns with rows devoid of substance and form. In addition to focusing on the basic principles of verifiability of scientific thought, in this paper we will try to answer several general questions: What is science? What are the limits of science? What are the expectations of the scientific call and its role in the modern world?
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- Contributions to the clarification of the relationship between journalist and PR
- Journalistic involvement in the media in general, unfortunately, decreases on a daily basis. If journalism is sinking into depression, seems to be the main question. The inertia of the press has opened big doors to the 'novice' PR experts who are always ready to forward large quantities of information. The objective is to reflect on what has unfortunately become a new (fictional) journalistic genre i.e. the form of press release. In the post-war Bosnia and Herzegovina it was possible for a new bulletin to last for 70 minutes, 55 of which were received press releases. These press releases have been sent by parties, representatives of women's associations, unions of veterans and various OCSs. These usually offer one-sided information, accusations against others, while the right to hear the other side, in this case, does not exist. The question is how to separate their communications (press releases sent from certain public institutions or organizations) from releases which mostly offer accusations against another political party or reactions to an event or events that have nothing to do with our activities. How to wake the journalists from their lethargy, which they seem to enjoy to a certain extent? Many things have changed in recent decades as we have arrived at a point where 60% of all published information is nothing more than a mere PR product. The next question would be - Where did journalism disappear? Or better said - where have the responsibility of journalists and their commitment gone? The education system is important. In our region, only the first steps are taken towards an institutionalized education of the PR experts, and as for the education of journalists, a good analysis is definitely required. Journalism does not have to be endangered. It can go forward, but with a little more effort and professional responsibility. And with a more evident desire to cooperate with 'those across the barricade'.
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- Copy/paste journalism and the internet
- Widely spread online journalism and emergence of the internet portals are bringing democratization of public speach. However, they are also carring some risks and dangers that are affecting the already shaken position of journalistic profession, and are arising questions of professionalism, ethics and jurnalism codes. Copy/paste journalism includes not only the recycling of previously published information, but also taking news without publishing sources, plagiarism, taking informal statements from the social networks as formal ones and so on. The reasons behind this futile job, without reference to the basic principles of journalism, are different - but the most obvious ones are of lucrative nature.
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- Corporate social responsibility policy as a determinant of creative sector development
- The concept of corporate social responsibility has brought about fundamental changes regarding the approach of the private sector to various segments of society, and it represents one of the most dynamic and most complex processes that the private sector encounters in the world of globalization. It is considered a frame within which companies take responsibility for the consequences of the impact they have on society, economy and environment, at the same time increasing their profit, reducing the negative impact of their business, and ensuring sustainable development and ethical business. This article aims to explain the emergence of this phenomenon and its function in modern business, as well as present Telenor's contribution to the development of cultural production in Serbia and its unique concept of socially responsible business, which the company has been successfully implementing in thirteen countries where it operates.
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- Corrupted tragedy, alienated utopia
- This paper examines certain dialectic of deviance, not just in the sense of its positive role in the moral conflicts that characterize social progress, but also as nonconformist phenomena that sooner or later becomes commodified. The film Easy Rider can be used as a theoretical tool in order to analyze the individualistic and social aspects of counterculture, with a focus on repressive, de-sublimated practices that invert the meaning of freedom, justice and equality. The paper questions whether the counterculture, in spite of the initial celebration of apostasy and social experiments, eventually ended up being integrated within the system by becoming a mask of social domination itself. Ideological contradictions of Easy Rider show the aesthetic and asocial nature of the countercultural identity, which has culminated in the pathological production of authenticity in capitalism. Instead of alternative, solidaristic community, there is yet again atomistic conception of society. The second part of the paper considers the possibility of abandoning capitalist society. The search for ancorpy was violently suppressed in the film, but in reality the counterculture's most radical elements were discarded or watered down, in order to sell it as a market product. The paper concludes that the postmodernist cultural Left has neglected the class conflict and focused on the extension of minority rights while the neoliberal deterioration of social rights was in progress. The film anticipates a contemporary social condition, a different kind of ideological hegemony, where the conflict occurs within the subordinated class, among different factions, leaving the power center untouched. Popular culture has lost its utopian dimension, while deviation has acquired a specific capitalist function.