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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- Face or mask in the life and works of Laza Kostić
- The paper analyses the phenomena of masking, costuming, disguising and discovering identities in the personality and the works of Laza Kostić. These features, strongly or less strongly expressed, are contemplated on different levels and in different forms: in their character, behaviour, dressing, speech. Also, the phenomenon is observed on a metalanguage level: the mask and its derivatives (disguise, hiding, and grotesque) have also been the topics of his poetry (Beseda, Gavrlu Egrešiji, Na parastos Jelene Bozdine...) and his theatrical pieces (Gordana, Maksim Crnojević). Since the appearance of tragedy, the mask has been connected with the theatre as a sign of metamorphosis of the individualactor, who by using it, becomes a herald of (higher) forces, emphasising that the man is lost behind the role, i.e. behind a figure. This is why, in this paper, having in mind a passionate preoccupation of Laza Kostić with the theatre (with due caution towards the methods of positivist biographism), different forms of masking, mimicry, disguise and unmasking will be subjected to analysis as elements pointing to some of the inner genesis factors in his poems, including his magnificent penitential poem Santa Maria della Salute.
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- Fate of bequests as a sign of crisis of the Serbian society
- We are currently laying down a basis for the development of a strategy for building a modern concept of legacies within the cultural policy of the Republic of Serbia. Improvement of the concepts of legacy and endowment activities in general, as part of cultural heritage, is of incomparable importance for the cultural policy of the Republic of Serbia. As an inseparable segment of the universal cultural matrix, legacies share the fate of society as well as the challenges that museums, galleries, libraries and archives face today. Based on the state of legacy in Serbia, we have mapped key problems in this area of activity in which, among other things, it is necessary to establish a general legal framework that would regulate the complicated issues of legacy on a national level, which would cover (and ultimately solve) an entire conglomerate of difficulties, issues and dilemmas that legators and legatees face. Defining cultural policy is a precondition, a foundation for further resolution of all problems and issues related, among other things, to legacies.
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- Fear of barbarians
- Kultura
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- Film and temporality in visual arts
- Introduction of temporality - limited duration, movement, change - fundamentally changes the way a work of art functions: permanence, constancy, 'eternity' are no longer its implicit features; a work of art is not necessarily an object, but also a certain activity, process, experience. A work of art takes over the logic of fluids: its material component, such as shape, size, format, has become variable, while the method of functioning has become fluid. This change cannot be observed independently of the technical reproduction, primarily of film, which for the first time introduces movement in the once static, unchanging image. Temporality spreads through film and moving images in other areas of visual research as well, the effect of which is appearance of a number of new artistic practices: early in the 20th century, within avantgarde, through neo-avant-garde phenomena to the contemporary art in which such a way of functioning becomes dominant.
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- Film as philosophy
- In this paper the author examines the view according to which film is a medium of philosophy. One of the most pressing issues in this debate is whether film can provide original philosophical contribution, or whether it can only illustrate a given philosophical problem. The author claims that this question cannot be raised independently of the perspective of a viewer and his background knowledge.
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- Film culture and Russian screening esthetics
- This paper studies the possibilities of Russian screening esthetics in an attempt to determine the nature of the film as art and media, as well as its connection with the idea of film culture. Although the relationship of film and literature has been identified early on as a question of great theoretical but also cultural value, here we can review the connection of traditional Russian screening esthetics with specific understanding of the film culture concept present in the context of Russian and Soviet twentieth century culture.
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- Film dystopias and transhumanism
- Film art anticipated many humanistic ideas which have only recently become the actual subject of consideration. The seventh art has pointed to many ethical dilemmas and controversies that the humanity encounters when facing different challenges of transhumanism. The Hollywood films exemplify this issue most adequately in the example of the cyborg. By creating dystopian works related to cyborgs (films, TV series, graphic novels) and profiting from them, the media industry uses a mixture of curiosity and fear evident in modern people faced with an increasing development of technologies, which alters their social surroundings. Within the social reality, due to the development of technologies, the cyborg has, as a media phenomenon, over a period of time, become a part of the present and of the immediate future. We live in the times in which we question and examine the former definitions and identity of humans in the light of a new hybrid identity of the cyborg as a direct mixture of man and machine.
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- Film locations as perilous realms of memory
- This paper examines film locations as places of memory (les lieux de mémoire) and their role in individual imagination. Film-induced tourism creates specific sites of memory typical of global popular culture; the places of confrontation, negotiation, and interplay between fiction and reality which affect our mental as well as the real topographies. The aim is to analyse how memorised film images determine visitors ' experience of real places and their imagining of J.R.R. Tolkien's fictional world, and vice versa. The film adaptations of Tolkien's "the Lord of the Rings" and "the Hobbit", directed by Peter Jackson, were shot in New Zealand, causing it to become touristically promoted and visited as "the home of Middle-earth" and "Middle-earth on Earth". This case is analysed as an illustrative example of the aforementioned processes.
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- Film spectacle as discovery of the other
- The text deals with film spectacle as a medium of meeting and construction of the other in the processes of cultural globalization. Kurosawa is seen as an author who created his films in the period between two epochs and in the space between two cultures, and in doing so, substantially modifies both. The article tends to show that nowadays the processes of mixing of different cultures are inevitable, that the tradition in any form of contemporary cultural creativity could not resist them, and that the technology as such crucially determines basic dimensions of this encounter. The view of film spectacle here is a positive one, i.e. it is seen as a medium facilitating intercultural language, and only after that, as a source of stereotypes and prejudices about the other. A special attention is given to the place and role of female characters in Kurosawa's samurai movies, where they are interpreted as a subtext of an intercultural communication.
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- Finding one's place in the female history chain
- In the text, matrilineality reads as the core theme in the opus of Italian novelist writing under the pseudonym of Elena Ferrante. In her first novel, L'amore molesto (1992), she has introduced a mother- daughter pair of characters: the daughter character has later developed into an ever growing network of female relationships all the way to the latest book of the so- called Neapolitan tetralogy. Interpretation is based on finding key characteristics that determine relations inside the matrilineal chain - like the daughter's experiences in search of an ideal mother figure; her recognition of the existence of female history and the need for its reinterpretation so she can be liberated from the imposed patriarchal frame; becoming a mother and a wife and redefining these roles most often by deserting her family and/or her husband to live a life which is not constricted only to the private sphere etc. Thus a parallel is drawn between female characters not only within the text of the novel but also in terms of the entire opus of Elena Ferrante.
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- First more substantial gifts of academics/artists to the art collection of the Serbian Academy of Sciences and Arts
- Art Collection of the Serbian Academy of Sciences and Arts (SASA) has formed in parallel with the establishment of the institution itself. At first, art pieces have served the purpose of adorning the premises of the Academy. Gradually, the art collection has become profiled and intentionally complemented by portraits of academics and later with art work of academics and artists. Immediately after founding of the SASA Gallery, at the end of 1970s, at the initiative of the SASA Department of Fine Arts and Music, the Art Collection was duly listed according to rules of museology. Systematic purchase of works by artists/academics was planned, according to a defined programme. Still, the largest number of works has become part of the Collection as gifts of SASA members and numerous other donors. The largest art donation were drawings and other art on paper by academic Ivan Radović, gifted to the Academy by his widow, Olga. Soon, other academics/artists began to select their works to donate, in order to be representative of their art. This is how the gifts of Nedeljko Gvozdenović, Ljubica Sokić and Aleksandar Deroko have laid the foundations for today's Art Collection of the Arts Academy.
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- Floating fabulousness representation, performativity and identity in musical ringtones
- In this paper, we consider musical ringtones of mobile phones to act as virtual, communicative and cultural performances. They appear unpredictably, they communicate signs which are interpreted by a variegated and dynamic audience, and establish stages upon which cultural meanings are portrayed. We will argue that the musical ringtone functions as a musical madeleine in Marcel Proust's sense, an involuntary mnemonic trigger of a complex web of individual and collective memories. Having this quality, the ringtone lends itself perfectly to the performative manifestation and display of (sub)cultural identities in the public sphere.