Kultura
Primary tabs
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
-
- The relation of science fiction and advertising
- The paper deals with the relation of science fiction and advertising, specifically in the representation of advertising in science fiction (film, literature and comics) and transformation of their forms into reality. It also includes examples of the influence of reality, which in the form of a certain esthetical discourse may offer a vision of the future and potential forms and modalities of advertising. Additionally, the paper covers possible modalities of advertising with use of (new) technologies, as depicted in the representations of the future in alternative film universes - i.e. in science fiction. Many authors have analysed the film Blade Runner and its visionary elements as prophecies of future reality, trying to answer the question how and to what extent, in their representations of the future, they were right in regard to the utilisation of technological innovations in modern advertising. The paper points to the cause-and effect relation between the occurrence of the fictive technologies in films and very fast prototyping and utilisation of the same or similar technologies for the purpose of advertising. The paper also reviews the consistence of the visual language of advertising through analysis of cult movies Blade Runner, Ghost in the Shell and Blade Runner 2049.
-
- The relationship between Arthurian tradition and science fiction in Diana Wynne Jones's novel 'Hexwood'
- This paper analyses Diana Wynne Jones's use of the Arthurian tradition in her novel Hexwood and the links she establishes with the contemporary traditions of the fantasy novel for children and science fiction. By employing a complex non-linear narration and a rich network of intertextual allusions ranging from Thomas Mallory and Edmund Spenser to T. H. White, Wynne Jones creates an unusual and successful genre amalgam. The central concept of the novel, a version of virtual reality where individuals adopt false identities and act accordingly, enables a highly uncommon self aware use of motifs adopted from myth and literature.
-
- The representation of Hong Kong as a subject of nostalgia in the Kar-Wai's trilogy
- Hong Kong is a city which has been amalgamating Eastern and Western cultures, and formed identity of its own multicultural structure. Hong Kong from colonial times until the transition in the 90's, experienced a vicious cycle of capitalist-based economy and the ever increasing economic-social pressure of China. The phenomenon has affected the Hong Kong cinema's reflection of the notion of dual identity and identity confusion in the postcolonial era. This identity confusion showed itself as a deep feeling of nostalgia in the works of Wong Karwai, a member of Hong Kong cinema. In Kar-wai's films, Hong Kong is not just his individual reality but also a portrayal of the country's history. His films present cultural and social transformations to the audience. In Kar-wai's films, Hong Kong is a metaphor of these cultural artifacts, and additionally reflecting the existential anxiety of ambivalence and duality. His focus on themes such as love, deception, loneliness, disidentification and alienation is rising from the tension between Hong Kong, China, Britain, and Japan. Moving from the fact that a cinematic space reflects ideologies, political system and social relationship, this study aims to analyse Wong Kar-wai's trilogy which includes Days of Being Wild (1990) In the Mood for Love (2000) and 2046 (2004) in a sociological perspective to understand the representation of Hong Kong's colonial and diasporic identity - taking a Lefebvre framework which asserts that (social) space is organic, lively, and changeable and it is a social product, into consideration. The study is focused on the daily life of the film characters to understand their relationship with space.
-
- The role of arts and history in the representation of holocaust
- Following the famous Adorno's sentence: 'Writing poetry after Auschwitz is barbaric', we can ask ourselves if representing holocaust in art is ethical, and if so, what is the proper way of doing it? The Holocaust discourse has motivated and moved many artists and critiques to consider and discuss open questions of holocaust representation. Who has the right to try and represent the holocaust? How should we represent the holocaust and how can we deal with the question of responsibility in a postwar world? Poetry, ritual, music, film, photography, art in general, help us to remember, remind those not yet born that they have to feel suffering they were lucky to avoid, not only as a tribute to the victims, but to stay human. In Auschwitz, culture, science, art and progress became monstrous pictures in the mirror of human existence. A question was raised and constantly repeated after Auschwitz: 'Is Auschwitz the end - the peak of our culture or a tipping point that we still do not understand? Is it possible for art to express the truth about Auschwitz?' If holocaust represents a historic turning point for the application of extreme violence of mass killing, then this turning point also presents completely new challenges to individual remembrance and collective memory.
-
- The role of critical thinking in the digital media culture and strengthening of digital immunity
- The public health emergency and the proclaimed state of the global pandemic caused by the COVID-19 virus have led to the biggest world crisis since World War II. With the introduction of quarantine measures in spring 2020, the digital transformation has accelerated in many societies and the importance of media and information literacy in these new circumstances has been clearly emphasized. The pandemic has changed the information and media habits of the citizens, work from home was introduced, online school classes became mandatory, and an uprise of e-commerce reflected the new reality. The digital space has become oversaturated with informative, educational, commercial contents and many cultural institutions and international organizations have made their cultural heritage accessible online. Interaction in the public digital space has became more and more intense, and critical thinking stood out as a necessity for strengthening the digital immunity of each individual as well as the society. The pandemia was followed by infodemia. The information channels used by citizens point to a certain re-examination of the new digital media culture, the very concept of media as well as the accompanying regulations and media policy. The findings of the paper draw attention to the media and information literacy policy framework in Serbia, and review a set of activities that the Ministry of Culture and Media has been conducting over the past two years on both national and international level. It describes the correlation between the framework and the practice and depicts the trends in the international policy in this field. The paper focuses on the strategic vision and provides information throughout the two-year period on setting up of the holistic 360 approach and setting up media literacy network of stakeholders with the aim of strengthening advocacy and developing of the media literacy field.
-
- The role of cultural factors in the protestantisation of the Roma in Southeastern Serbia
- The Protestantization of the Roma refers to a more recent process of mass involvement of the Serbian Roma in small religious communities of Protestant provenance. Cultural factors, reflected in the level of similarity between elements of the Romani cultural identity and the religious experience of the communities belonging to Protestant provenance, play a crucial role in the process of Protestantisation. Among these factors, the most important are: the role of music and dance in celebrating God, freedom and expressiveness in demonstrating spirituality, and closeness of the established religious bonds. Celebration and adoration in the Pentecostal movement are parts of religious service which particularly appeal to the Roma. By clapping their hands and swinging their bodies, they express their gratitude to God, and by shouting 'Hallelujah' and 'Amen' they confirm the testimonies and prayers of gratitude of other believers. With their eyes closed, they cross their arms across the chest or raise them and stretch them out towards preachers with microphones in their hands. Sometimes they even cry. Special attention in Protestant communities is paid to the first and direct individual experience of the people with whom they spend time during service. In common alienation, which is omnipresent in modern times and in the situation in which the Roma are observed as enemies by the majority, small religious communities represent oases of friendship, loving shelters and new families which protect them from solitude, fear, poverty and sickness. They heartily communicate with each other with their glances and smiles, before, during and after the service. Not only the designated member, but all other believers as well, will shake hands with anyone who enters their church, and give them a hug once they have met them.
-
- The role of media in expressing socially engaged attitude of the Belgrade New Wave scene
- The early 1980's were marked by sudden eruption of creative energy that moved the local artistic production closer to global trends. Authentic values of the period in music known as the 'New Wave' were expressed through various mutual activities, different forms of cultural resistance and open social- political intervention. Social function of these texts, as well as their exceptional originality, radicalism and visionariness, allow us to observe the new wave as an artistic movement of contemporary avant-garde, as well as to shed some light on its significant art production that determined and followed the musical expression, much better known to the general public. Works of the New Wave are typically on border areas of different arts. With the strong presence of music and dance, and based on its sensual character, this genre is especially close to theatre- performance art forms that are striving for urban, street culture. The new wave artists are using the media as the means of mutual communication, a space for exchange and verification of their own artistic positions, but also as a field of experiment, in both technical and ontological sense. Free of all constraints, and for a while overlooked by censorship, the New Wave managed to produce an abundance of initiatives in a very short time period, as well as to reactivate belittled artistic process. Such works say farewell to something that is obsolete, through forms that indicate future, whereas their content is more in what they anticipated then in what they realized. Individual artists through their common projects of this period were able to recognize the truth, which social and political system had a tendency to cover up. They were also sufficiently brave to present such truth in public, and sufficiently resourceful to present their ideas through available media, in which they confirmed Brecht's opinion that avant-garde artist is the one who is wise enough to discover relevant truths.
-
- The role of modern design in the context of professional ethics
- This paper offers analysis of the role of modern design in the context of professional ethics, so as to better understand the reaches of responsibility which design has in the society and for the society. As a discipline, design can be used positively or negatively depending on whether ethical codes apply or not, both before and during designing. As an active society member, a designer cannot remain indiferent and ethically neutral, because the effects of his/her activity can be fatal. Examples will be given of how designer skills and reaches can be used to realize certain benefits both for the individual and the society as a whole.
-
- The role of the Ministry of Culture and Information in the promotion of Serbian culture in France 2013-2017
- This article presents the way in which the Ministry of Culture and Information of the Republic of Serbia has shaped the policy on the promotion of Serbian culture in France in the period from 2013 until the end of 2017. Its role is followed through a review of activities financed by the Ministry. Based on the given review, we can see by which principles the Ministry was led, and what was most frequently presented in France. This work is part of a master thesis defended at the Faculty of Philology in 2018, on the topic of representation of Serbian culture in France in the mentioned period. This work shows results of the research conducted for that purpose.
-
- The role of toys in formation of gender stereotypes in children
- In this paper we analyze the way in which gender stereotypes are incorporated in children toys. We are interested in finding hidden projections, such as ideas, values and models of nowadays toys and associated advertising messages. Based on observed visual and linguistic messages, we'll try to reveal their meaning and consequences that this way stereotyped objects of mass production may have on future generations. When for the first time it is introduced to stereotypes, a child adopts them as a natural arrangement of culture to which it belongs. It gradually organizes, simplifies and connects information received from its environment. In that way a child adopts the social and cultural norms and accepts certain patterns of behavior that will become an integral part of its personality and its own identity. By exploring manifestations of gender stereotypes in the world of toys, this paper starts from specific objects of research found in the local market and investigates their contextualization. The functional categorization, and the media presentation and design, discover specific intentionally incorporated codes, which have an important role in the formation of gender stereotypes in children. At the same time, they draw a boundary between the sexes, defining areas of action and interest that the emerging entities should follow. Empirical research done in this paper, which had the aim to detect implementation of gender stereotypes in children, was primarily based on the psychological studies. However, in this paper, we have also tried to stress the economic aspect, and business strategies that the toy industry intentionally produces mentioned stereotypes in purpose of achieving profit. From this perspective, emerged the need for a review of values and behavioral patterns that industry offers to our children trough the toys.
-
- The role of vulgarism in reality shows in Serbia
- The style of expression in various media is a particular field of scientific research. Clarity of style implies that expressions appropriately convey certain information, but in reality programmes there are no essential facts that need to be expressed clearly. This implies the possibility of impairing the clarity of style and the use of a non-public lexical stock, such as vulgarisms. The increasing use of vulgarisms is evident in the reality programmes of Zadruga and Parovi, which are aired on the two Serbian commercial television stations with national frequency with the highest viewership, ratings and the longest daily and annual broadcasting times. Exploring the role of vulgarism in these shows provides a deeper insight into the editorial policies, discursive rules and creative freedoms of those who decide what is said and how it is said in the media. In this paper, a comparative study of the two most viewed reality programmes was made and several certainties regarding vulgarisms occurring on one or the other programme were highlighted, with a contextual review of the social, moral and creative role of expression in the reality programmes.
-
- The role, shaping and metamorphosis of sports facilities in Belgrade in the 19th and the 20th century, in relation to the city needs
- Every city is a mirror of society and societal activities throughout its history. In its past, Belgrade has witnessed great changes. Over a few decades in the 19th century, it has been transformed from an unarranged town into the capital city of Serbia. Together with the development of the state, inspirations grew to step up with the global developments which involved nurturing of sports disciplines. The sports architecture of Belgrade started in mid19th century and developed from the first public bathing sites at the Sava river bank, the shooting range at Topčider and the football fields at the Horse Racing Track, changing the shapes and purposes to suit the needs of the city. In the first few decades of the 20th century, tennis court and ice-skating ranks, swimming pools and big stadiums were built, later to be followed by modern sports halls. Through development of sports facilities architecture we can follow a whole series of changes and transformations where some architectural shapes were lost and some new appeared, all while history unravelled in its own inevitable pace.