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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- Emergence of travel agencies in Yugoslavia as drivers of the development of travel culture
- Although the idea of the creation of the first travel agency in Yugoslavia existed in the middle of the 19th century, it took more than sixty years to establish the first travel agency, Putnik, in Belgrade in 1923. Founding of a tourist agency initiated numerous trips, both domestic and foreign, to the places of former Yugoslavia. The most popular destinations in Yugoslavia in the first half of the 20th century were in southern Serbia, Slovenia and the Adriatic. During 1930, business operations of Putnik were marked by cruises and thematic exhibitions in Paris, London, Nice, as well as the opening of a large number of branches in different cities, in the country and abroad. Until the beginning of World War I, important events for the development of tourist travels in Yugoslavia occurred: printing of posters, brochures, promotions of destinations, opening of the Belgrade Fair, making of the first tourist film in colour. After World War II, which had a very negative effect on tourism in the whole world, including Yugoslavia, a period of the country's restoration followed and a golden age of tourism in Yugoslavia started, which by the number of tourists, their overnight stays and tourism revenues have never been exceeded. The appearance of agency activity in Yugoslavia contributed to the creation of a travel culture that has had multiple benefits for both travellers and hosts, but also for the society as a whole.
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- Emoticons
- Online communication and all the innovations it brings open up many new fields of analysis in areas such as linguistics, psychology or sociology, as well as all their interdisciplinary combinations. One such innovation, to a greatest extent connected with the virtual world and virtual communication, is described in this paper. Emoticons are first defined and then their origin is presented, including the context in which they originated and the reasons for their popularity. The paper then addresses the evolution of the appearance of emoticons from the simplest graphic icons comprising of only punctuation, to the most diverse pictures and stickers representing various objects and concepts. Finally, three functions of emoticons are described in detail: conveying facial expressions, conveying emotions and expressing pragmatic functions such as positive attitudes, irony or hedges that either mitigate face threatening acts such as complaints or requests, or reinforce face saving acts such as promises or thanks.
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- Employment policies for the cultural sector
- Employment policies for the cultural sector are, naturally, the intrinsic part of the status of the artists. They can be both restrictive and stimulating instruments for cultural bloom of any country. Employment policies require good integration of several policy areas, namely economics, social affairs, health and labor. That makes them an extremely complex and interesting issue for discussion. During the 21st general conference of UNESCO in Belgrade (1980), a list of Recommendations concerning the Status of the Artist was set up, which stressed that '(artists') conditions of work and of employment should be such as to provide opportunities for artists who so wish to devote themselves fully to their artistic activities'. However, in practice, different countries have taken with different seriousness all the measures proposed, which has resulted in numerous and qualitatively different methods of regulation of the artists' status. The aim of this paper is to show how too affirmative employment policy which aims at providing secure jobs for an array of employees can lead toward stagnation of the whole sector, as well as how too restrictive and generalized employment measures and abandonment to free market forces can increase unemployment. Comparing the employment policies for the cultural sector of two EU and two non-EU countries, this paper discusses advantages and disadvantages of all four policy models and designs a cultural policy proposal for each of them. The research carried out in January 2010 showed that the UK and Finland have more developed employment policies and more entrepreneurial cultural workforce than Serbia and Russia, which still struggle with transitional circumstances. However, each state lacks consideration for the specific work conditions of certain artistic occupations, primarily the status of self-employed artists. Policy proposals are, thus, created according to the specific needs of their cultural sectors and examples of good practices of other European countries.
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- Empty spaces of Serbia
- The project 'Empty Spaces of Serbia' explores a phenomenon of 'empty spaces' or 'emptied spaces', i.e. objects of cultural-historical heritage, as well as other objects that have lost their original purpose: military objects, industrial areas, abandoned suburbs and villages etc. One of the main purposes of the project was to explore the possibilities of transformation of derelicted properties into multifunctional cultural or scientific centers. The first phase of the project was carried out from June to November 2009. It covered the City of Belgrade area with its 17 municipalities. In the first phase of the project more than 150 sites were discovered. The research steps consisted of data collection, systematization and creation of database of explored spaces. Unsolved property problems, lack of strategy on governmental and local level, as well as lack of initiative of potential users (organizations and individuals), turned out to be the main obstacles in recycling and reusing these spaces. The results of the first phase of the project support expanding of the database of deserted urban and rural properties, with emphasis on their great social significance. The database is aimed to be used by artists, cultural and scientific institutions, as well as to instigate developing of strategies on governmental and local level, in order to transform and activate empty spaces.
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- Entrepreneurship in culture
- The choice of entrepreneurship and the individual entrepreneur in culture as an object of interest for this research, stemmed from the great interest in this phenomenon highly important in cultural development. Beside the theoretical and empirical views, and understanding of the subject, the most important aspect is the understanding of the problematic relationship of cultural policy towards entrepreneurship in culture. In the first part of this paper we briefly discuss different theoretical approaches to the study of entrepreneurship in culture. To study the social phenomenon of cultural entrepreneurship it is necessary to start with basic entrepreneurship in any sphere of social activity. In this paper, a brief overview of important theoretical approaches in field of entrepreneurship is also presented. The only answer to the question 'Who are entrepreneurs in cultural entrepreneurship?' this research gave is that such a person must be a visionary character, even though at times be labeled a daydreamer. The second part of this research examines the transformation that, with the arrival of political changes, transformed the Exit Festival from the cultural and artistic event organized in protest against the political regime, into one of the best music festivals in the world. That transformation is the result of a high concentration of the ability to create new values, according to new needs of society, and it represents an example of entrepreneurship in culture. To define cultural entrepreneurship, to show all its characteristics, and to show the desire to reveal a psychological profile of the cultural entrepreneur will certainly be examined in further researches. This paper gives basic directions for future efforts in the field.
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- Esthetics of the classical Chinese painting
- Over a period of one thousand years (7th17th c.), a great number of works of a very broad spectrum in style, themes, genre and aesthetics were created in the Chinese fine arts. A special creative period was between the 10th and the 13th century, which also produced a great number of written works, in which the authors developed their aesthetics, explaining how they understand art and creativity, especially in relation to painting. In this work, we focus on creativity related to painting and on painting theories and aesthetics. Some of these texts are close to the texts on painting written by Leonardo da Vinci (round the year 1500), except the Chinese texts were mostly written several centuries before his time.
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- Ethical choices and limit situations in the stories by Antonije Isaković
- The paper focuses on the achievements of Antonije Isaković, who is often seen as the Serbian successor of such renowned storytellers as Maupassant, Chekhov and Hemingway, owing to his terse, hardboiled style which imposes strict rules of reticence and emphasizes reliance on indeterminacy. The prose style of plain but powerful words and simple but artfully structured syntax tackles many delicate moral and ethical issues. The language which is carefully stripped of any misleading ornaments, replete with symbolism and functioning referentially to describe an event or object with symbolic implications fits into Karl Jaspers' concept of a limit situation (Grenzsituation) - a situation in which events and moments test the characters' moral strength and ethical priorities. Choosing to achieve small-scale, concentrated effects rather than construct majestic sentences, Isaković depicts a hero who is frail, alienated and confused, whose undaunted masculinity is larger than life, but also a hero who is prone to errors and falls into a world impossible to handle and control. The prevailing mood of danger and disenchantment seems to go along perfectly with the artistic form of a short story that requires a focus on the turning point in the character's life and chooses to dwell on a particular moment of crisis, climax or change.
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- Ethics and dyslexia
- The text problematizes the status of media ethics in relation to general theoretic discourse, investigating its grounding as an applied ethic discipline. The article opens with consideration of the media ethics in its relation to traditional ethic concepts of various orientations and schools of thinking, later to focus on a more specific media topics. Speculative results of critical reflections on subjects such as modern media ethics lead to conclusion that nowadays - due to ever increasing influence of mass communication media and the so called new media - could be more appropriate to reflect on the phenomenon of media common ways in tracks of classical Hegel's Sittlichkeit, instead of media ethics based on legal regulations in the field, that is on individualistic concepts of civil ethics. Theories of Marshal MacLuan and Paul Virilio also discussed and actualized in this essay support such an approach.
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- Ethics and justice of Epicurus
- The paper gives us a short notice of Epicurean ethics analysed from a contemporary perspective, considering formal conditions under which it is an ethical theory. Assuming that, at least partially, his theory meets the requirements set by modern theorists, our further consideration is a somewhat inconsistent connection between the individual and the egotistic conceptions of ethics on the one side, and a kind of social contract on the other side. Epicurus argued that such an agreement must be respected if we want to ensure proper functioning of people in a community. It seems to us that the conduct of our own lives relaying solely on personal preferences and enjoyment excludes any need for consideration of social circumstances. Insisting on acceptance and respect of the agreement among individuals tells us, in addition to ensuring coexistence, that the Epicurean ethics is not purely individualistic and that the requirements for its hedonism are limited precisely by one such agreement. However, (underdeveloped and incomplete) contractarianism formulated in this way, although tempting, is not sufcient to ensure a complete and universal respect of prescribed norms and rules.
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- Ethics in the theatre
- This paper aims to define and explore the importance of ethics in the theatre. The theoretical starting point of the work is based on Aristotle's and Plato's definitions of ethics and their observations of arts. For both Aristotle and Plato, art is an activity that inspires creation of virtues in the man. The second part brings the study of ethics in the works of Shakespeare and Sara Bernard, while the central part focuses on the theory of ethics in the theatre 'poetics' of Konstantin Sergeievich Stanislavsky. In his works, The System, My Life in Art and Ethics he laid the foundations of modern, naturalistic and professional theatre. Stanislavski wanted rules in theatre and beautiful relationships, goodness. He felt that the actors should be fully committed to their role and work in rehearsals. The concept of ethics in the theatre was examined from the perspective of a multi-disciplinary theatre and syncretic art. Arts should encourage positive emotions and traits in humans.
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- Ethics of media
- Their scope being direct and actually global, the ethic responsibility of media is huge, perhaps even far greater than that of other public institutions. Media comprehand reality and present it; this respects always rises a question to which extent they deconstruct that reality, and then in a way and in accordance with someone's expectations represent the acquired image. The starting point of this essay is the assumption that the media ethics is a phenomenological form of the applied ethics. Following these tracks the author tends to underline the importance of democratic social milieu in pursue of high level of their ethic quality. A precondition of positive changes, at least partly, lies in the evolution of consciousness of political and economic powerful figures who have to change their relation towards mechanism of media functioning and its effects. However, a positive and stimulating ambience alone is not sufficient in pursue of this goal. Without an active participation of media workers, owners and media managers, professional associations and effective engagement of critical and pro-active public high quality, ethical and responsible media activity is impossible.
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- Ethics of the narrative of remembrance and testimony
- The concern of this paper is twofold. First, it outlines the ethics of cinema as media as argued by the theories of André Bazin, Barthes, Ranciere, Shoshanna Feldman and Dori Laub. Second, it analysis the texts chosen as the case studies - Harrison's Flowers, The Fourth Man, The Hunting Party and Storm - that include the narratives of remembrance, witnessing and testimony. Beside offering examples of the ethical work of cinema through the moments of testimony/ witnessing, evocation of the recent past they answer the questions of the guilt, responsibility, reconciliation, forgiveness or true nature of the recent Balkan wars.