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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- Creating and destroying military identity on the example of the Army Headquarters designed by Dobrović
- This article examines and analyzes how the military identities of the new states (SFRY, FRY, SCG and RS) were created on the example of a representative military facility - the Army Headquarters building. The dissolution of the state and the creation of new states also destroyed the identity of the Army Headquarters as a federal military facility. The last damage to the military identity of the Headquarters occurred during the 1999 NATO bombing, when on two occasions, in the course of April and May, a small part of the building was demolished and therefore became unusable for its basic 'military' use. However, a part remained in use and, as such, survived as a represent of the FRY/ SCG community. Today, when Serbia is trying to build a new military identity, the authorities are trying to give the Army Headquarters building, which once represented connections with previous states and is now politically useless, a new role yet to be defined.
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- Creation in the zone between a sign and the signed
- From a psychological point of view, the relation between a mask and the masked can have developmental and creative potentials. To wear a mask does not necessarily mean that one has given up one's authenticity. A mask could become an entrance to the open space between a sign and the signed, a dynamic space in which to build one's identity - to be who you are not or to become who you are. It is a space for play, art, improvisation and learning. The ideas of Jung, Laing, Bohm, Washburn, Vygotsky and others are discussed regarding their understanding of the signsigned relation. Alienation is seen as an ontological gap between a sign and the signed, a mask and the face behind it. A change in scientific paradigm initiated by quantum physics is discussed from the position of transpersonal psychology, where a sign and the signed (a mask and the masked) could be seen as events in multidimensional orders.
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- Creative clusters
- The global pandemic is changing the world in significantly high speed and in many dimensions-economic, social, cultural, digital. Covid-19 certainly had a negative effect on all sectors requiring traveling and physical presence, including many arts and culture events and organisations, as well as sectors that are complementary to the culture and creative industries value chain. Despite, the global pandemic opened up new opportunities of living more among our communities, consuming more local products, reorganising our life to be more resilient, catalyzing both business and social innovations, using much more digital and online tools, including also for further increase of cultural participation and democratisation of the arts. In the last few months we have received plenty of evidences worldwide that culture does contribute to the economic and social vitality of cities across the world. This paper aims to identify the essence and key characteristics of "creative clusters" (CCs) and to offer a typology of their diverse forms of existence. It also summarises key business models and sources of external financial support for development of CCs. Finally, the paper draws key success factors for their development. The research for elaboration of this paper was done during 3-months long period (April-June 2020) in collaboration with Nikoloz Nadirashvili and Creative Georgia, within the framework of the Project - "Designing a Creative Cluster Ecosystem in Georgia" under the support of UNESCO and the European Commission. The research methods used for elaboration of this paper are: desk research of documents and publications, mapping and analysis of diverse cases and targeted in depth interviews with professionals and managers running creative clusters.
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- Creative economy, globalization and creative city
- The paper deals with the issue of urban development i.e. economic growth of cities from the perspective of cultural development and creativity market. In relation to that, the article considers different approaches and definitions of creativity, models and concepts of creative cities, especially from the position of town and spatial planning. The American and European continental development concepts of urban creativity are opposed. The main part of the article refers to the analysis of legislation and sub-legal acts and regulations that disable adoption, affirmation and application of the concepts of creative cities in Serbia, especially in practice. The author observes this problem in the field of public policies - as a continuity of disputes within public policies of a country in transition - a collision relation in the sphere of public and private interests and proposes a partnership of the two sectors as a possible solution to this problem.
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- Creative sector and space metamorphosis
- Creative industries play an important role in creating arch of the third millennium architecture. The idea of new cities in digital age has transformed space and moving review of physical constraints of architecture. Direct reflection of the implementation of the futuristic concepts is expressed in the twenty first century, technological innovation and transfer of knowledge, using modern technology and materials to create new concepts of space of the city, which have a new visual, semantic, social, geopolitical and other messages.
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- Creative sector as a development factor of the society in new millennium
- Cultural sector has become an important partner in the countries' economical growth. Creative sector, creativity, culture and arts are becoming more important in the new millennium (2009 was named 'Year of creativity' in the EU). In the IT age the accent was placed on logical, linear, transparently organized thinking and action, classic left-brain traits. In the dawning of the Conceptual age, right-brain qualities will be more valuable: inventiveness, creativity, empathy, all these attributes of culture and arts. The strength of the creative sector lies in its using of not only metropolitan cultural potentials, but especially those of local communities in order to improve their economical growth and development. Thus the development of cultural tourism, especially the festival (event) tourism, has to be supported by the wide cultural community, and by the state itself, because strong culture and arts are something that can represent us very successfully in the global world market.
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- Creative sector in economic studies
- The paper deals with the genesis of researches of creative sector, especially in the Anglo-Saxon countries. In the first part of paper, the author analyzed the chronology of the creative sector as an economic phenomenon in the U.S., including the socio-political context in which specific researches appeared, and the impact these studies had on the development of scientific disciplines and reflection on the creative sector. In the second part of the paper, the genesis of the creative sector in the UK, socio-economic context of researches as well as its effects on changing the role, importance and sense of creative sector in science are discussed. The aim of this paper is to present the basics of economic research sector, critical debates and phenomena associated with the area.
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- Creative workers
- Thanks to its economic potential, creative industries are considered the most promising form of entrepreneurship today, but also in the future. Development of creative industries is largely influenced by the position of creative workers, which, it appears, is defined by media culture that is oriented towards stars. Creative persons have never been famous as today. Even the artists who do not possess a top-class talent, have the opportunity to be in the media and present their creative work. The fact that creative workers are exposed in the media could have positive effects, related primarily to the possibility of mass audience to become acquainted with their work.
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- Creator, collaborator, critique or consumer
- Even though discussions and practices around citizens' participation in heritage were at their peak during last five years, the ideas about levels and ways of citizen participation through heritage making are by no means recent or unified. These distinctive ideas under the umbrella of 'engagement' form a variety of possible, even contradictory frameworks through which the role, rights, privileges, and responsibilities of the citizen and the community are defined in relation to those of the national state, public memory institutions and heritage professionals. They range from those asserting the rights of citizens in dissent and critical thinking towards dominant institutionalized practices, to those advocating participation as an effective way of engaging citizens in consuming authorized heritage discourses. Participation is thus neither good nor bad in acheiving citizens' rights to heritage, but is driven and influenced by the framework which utilizes it. The proposed paper aims to examine and structure the four key frameworks through which citizens' participation in heritage making is asserted, in order to shed light on what we are thinking, talking and practicing around participation. The first framework is heritage without institutions tracing back from Marlaux's imaginary museum performed by every individual, to the ways in which global civic communities perform practices around heritage that challenge dominant politics of heritage. The second relates to group of ideas around community museums, in which heritage is participatory even in the decision making, but the process is being mediated and curated by the professionals. The third is participatory museum framework in which citizens participate within an institutionalized environment to become more emersed in it, but could (possibly) challenge and shape it by forming their own meanings around musealization. The fourth group is related to critical, discursive museum, derived from critical heritage studies in which professionals are creating civic forums for citizens, thus fostering critical thinking around heritage-making.
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- Crisis culture and culture crisis
- The crisis of culture reflects in the crisis of cultural values, cultural institutions and the foundations on which it rests. More specifically, the culture crisis is driven by: a serious lack of funds which prevents the cultural institutions from better responding to the demands that have been placed upon them; inertia found in the very institutions, resulting in extreme slowness with which they adapt their internal structures to the needs, even if they are not too affected by lack of funds; and inertia of the social system, bounded by traditions, beliefs and values, which has proven to be incapable of making the best use of culture and cultural institutions in the interest of national development. The gap between cultural institutions and social environment is caused by relative autonomy of these institutions. They tend to remain what they have always been in order to protect their own interests and values. In order to overcome the crisis, it is quite obvious that the culture and the society must agree on the need for mutual adjustment and adaptation. Planning of cultural needs must take into account the development of other social activities, in particular the development and financial aspect of the economy. Programs that do not comply with other programs of social life remain a mere collection of wishes and efforts that can often bring confusion into the social life. The development of certain activities over others should be replaced by a balanced and coordinated planning of all activities. Practice has shown that 'the activity' of culture in the period of pre-transitional changes was not just part of the material sphere of work, but also its result - a distribution of total income through contributions. The state has set up the necessary infrastructure and established various cultural institutions. However, bureaucratic attitude towards culture and bureaucratic culture has often neglected the function of people in dealing with social affairs. It has bypassed the world of their needs, because its objective has been to keep the production and the culture separated. This is how the culture has become a guided activity, where the possibilities of manipulation are huge.
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- Critical analysis of the discourse of frugal measures and the capitalistic hegemony from the perspective of cultural studies
- Basic aim of this text is to try to give a critical analysis of the discourse of austerity measures which is manifested in intensified production of a specific type of media, public and political narratives and symbolic metaphors such as painful cuts, tightening of belts, alleged necessities in enforcement of different social diets etc, as well as similar syntagms like favourable or unfavourable business climates or devastating stormy crisis which, in the end, result in ideological and hegemonic perpetuation of the political enomy of capitalism and its pertaining power. Such discourse is approached as ideologically fabricated naturalistic discursive formations which use seemingly benign metaphors to create an illusion of alleged non-ideological crisis of recent capitalist economy and its political and social aspects. A prevailing disciplinary/case approach in analysis of the given problem motif is in the domain of rich arsenal of conceptual culture studies ie theoretical schools (structuralism, semiotics, neo-Marxism, critical discourse analysis, theory of ideology, critical social theories etc) and authors (Bahtin, Gramsci, Hall, van Dijk, Barthes, Foucault …) that were significantly used in cultural studies both substantially and methodologically. In conclusion, examples of given syntagms provide evidence that hegemony cannot simply remain in the framework of the predictable and controlled language of technocracy, and is therefore unsuccessfully searching for a way out, for an escape into the connotation, symbolic allegory, metaphor, hidden meaning.
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- Critical definition of the concept of 'Serbian philosophy'
- The author discusses the critical definition of the concept of 'Serbian Philosophy' by Slobodan Žunjić, who, in his basic research of Serbian philosophy based on a new methodological approach, substantially revises results of previous studies of domestic philosophical heritage. Significance of Žunić's philosophical works, in author's opinion, does not only lie in a more complete view of the development of Serbian philosophy, but also in the precise philosophical concepts which put a sharp focus on the different stages of development of the Serbian philosophy over a much longer period than so far known. The author especially analyzes Žunic's concepts of criticism in Philosophy of Serbs, Philosophy in the Republic of Serbia, and suggests arguments why Žunić insists on using the term 'Serbian philosophy.'