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
-
- Coffee-shops in flatland villages
- This paper presents the findings of a sociological research of coffee shops in the village of Stapar (Northwestern Serbia, near the City of Sombor). The case study method was used, and the results showed that a rural coffee- shop/tavern has been an important rural institution, since it performs several functions for a rural society. The findings also show that in rural coffee-shops/taverns it is possible to find a special mix of modernity and tradition.
-
- Collective intelligence as a social potential
- This paper analyses the phenomenon of collective intelligence, which is intriguing and increasingly important, and it presents research that provides interesting insights about its existence and presence. The central part of this paper analyzes various trends and theories which are associated with the collective intelligence in order to show it in a larger context. Furthermore, the paper provides an overview of examples of collective intelligence in humans and provides parallels with various management techniques and practices that testify that the knowledge of this phenomena and advantages of its use in a variety of human activities have been known for a long time. In conclusion, the importance of collective intelligence is emphasized for the development and evolution of the human society, constituting possible directions for further development of this field and raising questions about further potential directions. This paper was produced using the method of content analysis of domestic and foreign literature, the classification method, the description method, the comparative method, the method of analysis and synthesis and the historical method.
-
- Comics in Russia
- This work is the first part of an excursion into the history of comics in Russia. The preconditions for the emergence of graphic stories as a genre of newspaper and magazine publications in the Russian Empire and Soviet Russia are considered. Some publications and activities of historical figures who played a special role in the formation of this phenomenon in Russian culture are considered.
-
- Commodified play
- The fundamental changes in the global mode of production occured in the second half of 20th century, with important role of concept of free time and the notion of play. Being structurally decentralized and flexible, digital capitalism moves into the sphere of social networks, massive online games and friend aggregators platform. The notion of play is deeply integrated in micro and macro economies of these interactive environments, by creating social capital, symbolic capital, emotional capital, and last but not least, financial capital. The works of Paolo Virno and Matteo Paquinelli are helpful in understanding the innovative and competitive aspects of network. Innovative and competitive aspect of social (digital) networks and culture in general, is thus, conceived as inherent 'animal spirit' in human that eventually results in 'immaterial civil war'. In this sense culture is not something that 'humanize' animal in human, but is rather one of many aspects of numerous struggles in society of pure 'zoe'. Situationists' vision of future society as society with minimal necessary work, endless situations of play and interaction, is today materialized through distopian model of massive militant games, network pornography and financialization of libido. Nick Dyer Whiteford i Greg de Peuter propose models and present some possible artistic approaches that can accurately respond to challenges that digital capitalism and its basis in libidinal economies, are bringing.
-
- Communication
- 'Komunikacija', a regional database of the electronic editions of journals and other publications and works from the fields of science, culture and arts in Serbia and the countries of the region, was founded in 2000. Its website, hosts 45 relevant journal titles, with over 350 volumes and over 10,000 articles and features. 'Komunikacija' is a public good and access is free and unrestricted for all Internet users worldwide. Serbia's domestic scholarly and cultural production is still not sufficiently present on-line, and a particular gap exists in the presentation of a larger number of journal titles at a single web address. Even so, some duplication has already occurred. Therefore, there is a clear need for an agreement on a strategy of development, involving all participants in the system of creating open-access repositories of Serbia's scholarly and cultural goods.
-
- Communication skills
- Kultura
-
- Community radio stations
- In modern Hungary - since it joined the European Union - concepts like communication, modernity, identity and social dialogue have been re-valued. The change in publicity structure was an important transformation process in the system changeover. During democratic transition, the role of mass media also changed. Old tools got a new role, thus enabling the appearance of new actors as well. For many years, the local media (serving democracy better on local levels than their national counterparts) seem to have been re-valued as a local, self-defining forum trying to build local communities and support their participation. Following the system changeover, opportunity was provided in Hungary to establish local commercial and also local community radio stations. The range of the local media became increasingly colorful. Existing county newspapers, local papers, advertising brochures and the newly established local television stations easily attracted the firms and organizations operating in their area, offering advertising and PR opportunities. On the other side, it can be observed that the PR staffs of these companies and civil organizations scarcely exploit the opportunities provided by the local community radio stations. When they do consider the radio, they usually (nearly always) consider commercial radio. Within the frames of accessibility and pluralism, a determinant characteristic of the community radio is the manner in which people participate in the operation of the station. Volunteers consider this 'work' a mission, are strongly devoted to the area and possess a serious opinion-forming force on the local level. Researches have proven that the popularity of these stations is higher among audience with higher education. I believe that the community radios - owing to their specific features - could be an appropriate and attractive area for the PR, offering success opportunity primarily on local levels. This study and presentation places special emphasis on the features of the community radios that could promote efficiency of the PR, thus encouraging organizations to become part of the local communities.
-
- Comparative analysis of testimonies in the transfer of memory of the gas chamber victims from Yugoslavia and Poland during II World War
- After June 1941, the German invasion of the Soviet Union and the mass shootings of civilians by the Einsatzgruppe, the Nazis experimented with gas vans for mass killings. The use of gas vans began after Einsatzgruppe members complained of battle fatigue and mental anguish caused by shooting large numbers of women and children. Einsatzgruppen gassed hundreds of thousands of people, mostly Jews, Roma, and mentally ill people. According to Wievorka, the Eichmann trial conferred on the witnesses the social identity of survivors and transformed them into bearers of history. Jovan Byford asserted that the authors selected from each testimony confirmed the existing "truths" and perpetuated the dominant culture of remembrance. According to Rothberg, Felman and Laub, the focus should be on the links between testimony and trauma. They emphasize, as adopted from Elie Wiesel, that our era is the age of testimony, which relies on the experience of the Nazi genocide. The goal of the testimony thus becomes helping to create the missing Holocaust witness. The research problem of this work is exploring the dynamics of memory creation in Yugoslavia and in Poland, about the victims of gas vans, and examining their consequences, as well as the process of solidification of the wartime rumours and their integration into historical remembrance, due to the value of testimonies. The research question of this work is how the problematics of the dynamics of an individual and the collective memory is manifesting in the shadow of the "traumatic past", caused by brutal deaths by gas vans. The primary hypothesis of this paper is that "Oblivion" was a tendentiously applied cultural strategy in relation to the issue of "dusegupka". The main goal of this qualitative study is contributing to the study of memory of victims who were killed in such a brutal way, and remembering, to prevent any possibility of it happening again.
-
- Competing for theatre audience in digital age
- The main objective of this paper is to point out that it is possible to draw attention of a large number of people, in spite of their daily exposure to abundant media content, by using an original approach combined with an unexpected and imaginative idea and presenting the creative result via digital media. The paper will present the most successful guerrilla marketing campaign ever realized in Serbia for theatre art, named 'Taxi drama'. The campaign was created for the Yugoslav Drama Theatre in Belgrade in 2014, and had over 200 000 views on YouTube in a single day. The main conclusion of the paper is that creativity is crucial for attracting art audiences. Once more it has been confirmed that the new media have become indispensable when communicating with the audience.
-
- Confrontation of the Serbian and the Russian cultural and artistic opera praxis in the National Theater in Belgrade between the two World Wars
- Cultural life of Belgrade in the period between the two Worlds Wars was also defined by establishment and development of numerous artistic associations, organizations and societies. Around 40,000 Russian refugees stationed in the Kingdom of Serbs, Croats and Slovenes in the first decade after the First World War, seeking refuge after the October revolution and the civil war. They have influenced development of the cultural life in the newly formed Balkan state. Establishment of two independent departments - The Opera (1919) and The Ballet (1922) - within the Belgrade National Theater, lead to popularization of theatrical arts (drama, opera and ballet). Russian artists and stagehands employed in the National Theater significantly contributed in the fields of performance interpretation, scenery and costume, as well on the artistic and directorial level. The problem of language barrier and poor pronunciation of the Serbian language of Russian singers became an element of discrimination and segregation in a rivalry between the Russian and the Serbian opera soloists. In that context, the first working decade showed noticeable slowing of development i.e. stagnation of the Belgrade's Opera scene, and offered poor conditions for creating the national opera style.
-
- Consciousness spectacularization and the rural-spectacular cultural pattern in mass media
- The paper depicts the process of consciousness spectacularization and the adoption of rural - spectacular cultural pattern via mass communication media in Serbia in the 2000-2005 period. Culturally, consciousness spectacularization via mass communication media, is in line with the process of cultural globalization and, when it comes to TV, is mostly reflected in non-critical overtaking of mass culture contents dominated by the products of global entertainment industry. In the tracks of Debord's critical and theoretical principles, the paper theoretically considers the idea of media spectacle.
-
- Consensus of competent discussants
- Starting from the linguistic-analytical philosophy which emphasizes the truth of 'a consensus reached within the circle of competent panelists' in a certain context and a certain period of time, through a sort of a dialogue in which the sender of the message is not only willing to tell the truth but also to disprove the opposed statement, which indicates that there is no absolute but only partial truth, to a media interpretation that emphasizes the veracity of the message, reaching the truth as a standard of profession seems to be yet another unfulfilled ambition. Interpretation of reality which, together with the media spectacle, has fully occupied the leisure time of the media audiences, has expanded its offer of the media-shaped manipulative forms in a global environment. Although it seemed that the media performances which abolished dialogue would falter due to the Internet communication, it turned out that interaction became an illusion of dialogue without the opportunity of reaching the truth. The paper deals with the reexamination of the method of media interpretation of truth in the media-mediated reality of the society of spectacle and the civilization of the image in the entertainment and dream industry.