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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- Focus change in the public relations and the media
- Traditionally, it was considered that those who work in public relations should have previous experience as journalists. Through this experience they were supposed to build their writing skills and learn about functioning of the media. In the past most people working in public relations had vast previous experience in the media. Today, working in the public relations sector involves a much wider range of activities than just those related to the mass media. PR today also involves writing for the controlled media.
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- Foe and the Handmaid's tale
- Analysing the novels Foe and The Handmaid's Tale from Michel Foucault's theoretical views in his work What Is an Author?, we may notice how the unclear parts or unexplained details in urtexts, such as the novel Robinson Crusoe and The Bible, give possibilities for different interpretations, truths and new prefigured novels inspired by the original texts. In Coetzee's and Atwood's rewritten versions of the canonized stories, there are oscillations of a few different perspectives: postmodern, feminist, postcolonial and postfeminist. The novel Foe, a classic story about Robinson Crusoe has been reconstucted from a postmodern perspective, while in the novel The Handmaid's Tale, we come across a prefigured version of an episode and a character from The Bible, set in the context of a dystopian society in the future. Challenging imperial and patriarchal discourse at the beginning of the novels (by Susan Barton in Foe and Offred in The Handmaid's Tale) resembles approaches of feminist works. However, certain scenes and characters (Susan's attitude of ''the colonizer'' toward Friday in Foe or the position of rebels in The Handmaid's Tale) may refer to writing stories from postcolonial discourse. Coetzee's implicit irony, when he depicts mood swings in Susan and Atwood's implicit condemnation of the Aunts's cruelty towards the Handmaids, may be interpreted as a postfeminist reaction against contradictions of feminist ideals. All in all, apart from those diverse possibilities for interpretation which the two authors offered during their (re)writing of novels, other truths (notions, speeches and parts of the texts in literature, culture, and religion) were also destabilized and examined in the novels Foe and The Handmaid's Tale, as our analyses reveal.
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- Food as idea
- This article describes the main sociological and anthropological meanings of nutrition through history, from mythological and religious meanings, through the contrast between poverty and wealth, to the consumeristic, functionalistic, structuralistic and developmental theories (Bourdieu, Douglas, Durkheim, Elias, Fichler, Goody, Levi- Strauss, Mennel, Myerson, Simmel, Sobal, Veblen etc.). It is discussed how food, with all of its cultural customs and rules, has gained different interpretations in different social systems and epochs. All these interpretations share a common fact that food is not only primary human need, but also the ideatic, symbolic, cultural and philosophical concept which represents an integral part of the world views and the way of life specific to a certain community and/or period of time. Particularly interesting is the connection of consumption with the mythological and religious patterns, by which this basic dimension of life becomes a mediator between the profane and the holy world - because, from the archaic times, food has always been a means for achieving unity with the divine.
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- Food culture as the basis for Serbian, French and Italian phraseological expressions
- The subject of this research are Serbian, French and Italian idioms referring to culinary terminology (lexemes that denote groceries, certain types of meals and other culinary products such as lemon, bread, cheese etc.) The main objective of this article is to indicate the relationship between language and culture. Therefore, the motivation of chosen idioms is analysed in order to explore the influence of national culture on phraseological meaning. Idioms are classified into three groups: 1) idioms motivated by customs, experiences and habits of the nation, 2) idioms motivated by beliefs and stories and 3) idioms influenced by literary discourse. The analysis of our corpus shows that different experiences, habits and customs of the Serbian, French and Italian people in relation to food affect their phraseological expressions. On the other hand, despite the fact that each language brings elements of national culture, these nations can also have a similar metaphorical manner of thinking.
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- Forgeries and forgers on the fine arts market
- Many forgeries have been taken for originals for years, even centuries. With the advance of science and technology, it became possible to perform numerous analyses of artifacts whose authenticity is questioned. One would expect that those tests are run routinely, however, that is not the case. Analyses can be costly, may take a long time and some of them can even irrevocably damage the artifact tested. Therefore, even the most prestigious of museums worldwide have forgeries in their collections and the most renowned auction houses auction forgeries at the price of the originals, from time to time. Knowing that those prices sometimes reach millions of euros, it is clear that forgery has become a very lucrative business. Since verifying the authenticity of an artifact which was created in recent years is most difficult due to ready availability of the materials used, it can be anticipated that the art markets in the near future will be flooded with forgeries of modern art pieces.
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- Four and a half decades of 'confused silence'
- The purpose of this paper is a search for verified non-ideological significance and an analysis of the reasons for public neglect of the event called 'Congress of Cultural Action in SR Serbia', held in Kragujevac at the end of 1971. The paper starts from the fact that the Congress was the biggest relevant event in the field of redefinition of national cultural policy in Serbia in the 20th century, whose content should be viewed outside of the ideological framework. The first special hypothesis is that the main reason for the institutional neglect of this event was related to the opposite political views; the other hypothesis is that the so-called 'marginal events' were autochthonous and were not directly connected with the Congress; and the third one implies that the most appropriate type of oblivion of this event is what we could call 'forgetting as a confusing silence.' The aim of the research is to determine the real picture of the events preceding, during and after the Congress of Cultural Action, its significance and the reasons for forgetting such an event. We relied primarily on the method of 'oral history', with an analysis of the content of secondary sources. The paper strives for recommendations that would define the importance of abstracting ideological assumptions in a study of content that has scientific potential.
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- Fragments of globalization and literature
- In an attempt to reconsider the current position of the notion of globalization, the paper takes two different directions in observing globalization and its relation to culture and literature, from a literary and then an economic aspect. The often heard postulate that contemporary literature has assumed the features of a commodity taking part in market competition is tested by placing literature in some of the main globalization strategies from the point of view of economists. The inter-relation of literature and globalization determined by syntagms such as globalization of literature, global literature and literature of globalization is a globalization-fragmentary response to a complex issue of their inter-relations, which is by no means exhausted in this paper, just as neither globalization nor literature gives an impression of waning in transformation.
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- Francuski pogledi na državni udar 1903. godine
- Državni udar u junu 1903. kojim je zbačena dinastija Obrenovića, nakon kojeg je na vlast stupila suparnička porodica Karađorđević, postavio je dva problema pred Francusku. Prvi problem je bilo ubistvo kojim se odigralo svrgavanje. Ta brutalnost izazvala je žestoku kampanju u štampi koja nije samo počinioce prikazivala kao zaostale divljake sa istoka, već i čitavo srpsko stanovništvo, isključujući Srbiju iz okvira civilizovane Evrope. Druga problematika se situira u priznavanju nove vlasti u Beogradu. Iako francusko ministarstvo inostranih poslova tajno priznaje državni udar i stupanje Petra I na vlast, sprečeno je da to naglas izrazi u strahu od reakcija drugih evropskih ministarstava, koja su sva monarhistička, i unapred zgrožena nasilnim kraljeubistvom. Ministar Delkase rešava da ubistvo prikaže kao unutrašnje pitanje Srbije i da sledi poziciju Rusije koja, veoma brzo i uz saglasnost Beča, priznaje državni udar. U štampi dolazi do postepenog preorijentisanja: sve manje se govori o toj strašnoj noći a sve više mesta se poklanja novom srpskom vladaru koji je izrazito frankofon. Već početkom jula sve se vraća u kolosek na francuskoj strani.
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- Francuski pogledi na tursko-balkanske odnose
- U toku poslednje decenije, uticaj Evropske Unije (EU), a šire i Zapada, kao hegemonskog faktora na Balkanu, znatno je opao. To opadanje je omogućilo pojavu novih uticaja. Pored Rusije i Kine, svoje poteze je povukla i Turska. Bez obzira na ograničena sredstva, ova zemlja se afirmiše snažnom političkom voljom. Nakon dolaska na vlast konzervativnih islamista Stranke pravde i razvoja (2002), Turska raskida sa autarhijom kemalističkog perioda. Pod palicom Ahmeta Davutoglua, teoričara neootomanizma, Tuska želi da se obnovi kao svetska sila i da se projektuje izvan anadolijskog kruga. Ova potreba zahteva ponovno čitanje otomanske prošlosti. Čitavo delo ovog turskog diplomate artikuliše se oko posledica lobotomije koju je Turska navodno pretrpela početkom XX veka. Dok je Mustafa Kemal Ataturk odbacivao nasleđe Velike Porte, pohranjujući ga u limb arhaične prošlosti, ovaj turski ministar inostranih poslova nastoji da od sećanja na Osmanlijsko carstvo stvori materijal za budući suživot koji će ujediniti sve narode na Balkanu. Na prelazu u drugu deceniju XX veka, ova politika doseže zenit. Od Sarajeva do Beograde, preko Tirane, jača prisustvo turskih diplomata. Preko svojih agencija za saradnju, Ankara ulaže u izgradnju infrastruktura za javno dobro (mostovi, putevi, bolnice). Paralelno, Turci razvijaju jednu vrstu meke moći koja se pokazuje kao veoma uspešna. Verske škole učestvuju u formiranju budućih elita, naročito u zemljama sa većinskim muslimanskim stanovništvom. Televizijske serije koje hvale zlatno doba pax ottomanica prate se na celom poluostrvu. Međutim, počev od 2011, neoosmanlijska mašina posustaje. Prioriteti su se najpre promenili zbog arapskih proleća i njihovih nesigurnih ishoda. Balkan silazi sa dnevnog reda u Ankari. Drugo: neootomanski diskurs se sukobljava sa realnošću. Promocija idealizovane prošlosti, teokratskog i kosmopolitskog carstva sukobljava se sa istorijskim predlošcima nacionalnih država koji su zasnovani na odbacivanju otomanizma. Naposletku se pokazalo da je Turska želela mnogo ali da je malo uspela da postigne. Kakve god da su pretenzije, nedostaju sredstva. Nemilost Ahmeta Davutoglua 2016. delimično obustavlja povratak otomanizma. Ugrožena unutrašnjim problemima, Turska se koncentriše na svoje trenutne granice. Ipak, kakve god bile političke okolnosti, osnovni temelji neootomanizma opstaju, pre svega, u ubeđenju da bi Turska ubuduće u svemu trebalo da se drži svoje imperijalne prošlosti.
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- Freud anthropology and psychological analysis of the roots, nature and functions of religion
- Freud's understanding of human nature is 'pessimistic'; he emphasizes the dominance of the irrational, instinctive and unconscious motives over rational, conscious and moral. The man is a tragic and split creature within himself, with an intense conflict between the conscious and the unconscious, the instinctive and the spiritual, the pleasure principle and the reality principle. He is a creature prone to self-deception and one of the biggest self-deceptions and illusions is - religion. The creator of psychoanalysis seeks to systematically demystify its origin, substance, its social and psychological function in his in-depth critique of religion. The origins of religion lie in the response of feelings of guilt and remorse, as a result of the murder of the primal father. God is the idealized infantile omnipotent father figure, who protects rewards and punishes, while the comfort of religion is a collective illusion, a response to feelings of helplessness. This consolation is pleasant, but not real, says Freud. Careful study and analysis of the texts of letters of the first psychoanalyst, as well as testimonies of his closest associates, reveal that this uncompromising atheist has his own religion - Science, and that his hidden God is - Logos.
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- From Cuba on film to Che-Guevara from outer space in 3-D
- This text briefly summarizes the Cuban relationship to the film art and the way it is represented in Hollywood films. Researching political appearance of Cuba on film from 1897 when film crews started to work there until today, including mentioning local Cuban film masterpieces such as 'I Am Cuba' and Cuba's prominent presentation in famous American blockbusters like 'Godfather Part II' and 007 films. From Cuban most popular cartoon hero (also a revolutionary) to Oliver Stone's screenplay for 'Scareface' and his interview with Fidel Castro are individual examples of many interesting fascettes of well traced propagandic ways to be seen of film use from both confronted sides of the cold war curtain concerning this hot island. Western understanding of Cuba as untaming exotic island out of our time is compared here with the western admiration of Japanese culture in the similar way because of it's great diversity from the American culture and often historical-political disagreements with the USA. For the coda the imaginary 3-d world of a far, far away planet Pandora from the newest James Cameron blockbuster film 'Avatar' is used here to stress the profound meaning of a lone island in the (space) sea that raises it's head and it's arms against repressive corporative system. Looking how much guerilla troops that defeat the USA marines have similarity to Che-Guevara and his comrades we can only conclude that po(p)litical obsession with Cuba and it's imaginary echoes is far away from Hollywood and nowadays even more highly raised on meta physical level of 3-d science fiction.
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- From Madonna to Madonna
- Rare images of pregnant women in art history have resulted in insufficient theoretical representation of this topic, which has only recently begun to be studied. The reasons behind rare images of pregnancy are multiple, such as secrecy from the public eye primarily due to the fear of miscarriage, death of the mother or the new born in childbirth (because childbirth usually took place at home or in a private space, until the early twentieth century) as well as some religious and social attitudes towards pregnant women. Also, artists could easily edit their work by removing the painted belly if necessary, especially if it was a seated figure. This paper aims to show the images of pregnant women focusing on the Christian tradition. It brings together two symbolic figures through the motif of a pregnant woman: Madonna (Mother of God in the Western Christian tradition) as the central female figure of Christianity, and Madonna as a symbol of popular culture. Preserved examples that have changed the image of a pregnant woman throughout history are analysed chronologically. The body of a pregnant woman was observed in the past mainly through the dual attitude of Christianity towards the body, which made it problematic, but Christian references can also be found in the representations of pregnant women in the art and pop culture of today, with very developed symbolism. With the development of technology and medicine, the knowledge of the female body became deeper, while social changes led to new conceptions of pregnancy which then reflected in the visual culture. The development of technology and the phenomena of mass media and the social networks have enabled women today to create their own image of pregnancy.