MUSIC ELEMENTS IN SONGS, BALLADS, POEMS AND DRAMAS BY LAZA KOSTIĆ

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In this essay, the author is presenting and explaining elements of music art found in Kostić’s literary work, such as poems, ballads and dramas. It argues that he depicted singing and dancing as part of the desired atmosphere symbolic of the crossover of music art into the natural phenomena and used technical music expressions in his poetic narrative. The basic goal of the paper is to determine and classify music elements in Laza Kostić’s literary discourse, i.e. the manners in which the poet has used them. The author describes the function of using musical elements as dramatizations of the poetic text and its tragedies. Using musical elements in an original way, Kostić has emphasized patriotic themes in his epic narratives, as well as romantic theme in the lyrics of songs, poems and dramas. It can be concluded that Kostić has had a great knowledge of the art of drama, and that he has used the knowledge of drama techniques throughout his literary oeuvre.

MUSIC FESTIVALS AS A REFLECTION OF CULTURAL POLICY DURING THE COLD WAR

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This paper examines the influence of political changes on the cultural life in Poland and Yugoslavia from the 1950s to the early 1960s. After a period of socialist realism (as the main art orientation), the tendency toward liberalization of culture started in both countries. In the domain of organizing musical life, such tendencies reflected in establishing of international festivals of contemporary music. The Warsaw Autumn (1956) and the Zagreb Music Biennale (1961) were places where composers from both sides of the Iron Curtain have presented their works. Analogies between these festivals are evident, given the fact that the Polish festival was founded five years earlier and served as a model for establishment of the Zagreb Music Biennale. First of all, the Warsaw Autumn and the Zagreb Music Biennale have shown similar problems in regard to the music repertoire. In addition, the similarities between these festivals are recognized based on the main objectives of both festivals organizers which implied aspiration for incorporation of Polish and Yugoslav music culture into the contemporary tendencies of Western Europe. It was a crucial strategy of the Warsaw Autumn, as well as of the Zagreb Music Biennale, whose purposes were about contributing to the liberalization of both Polish and Yugoslav culture. Therefore, this study has found that these festivals, although perceived as a departure from political ideologization of music, continued to promote modified political aims referring to presentation of Poland and Yugoslavia as liberal countries.

WOMEN’S LITERARY EXPERIMENT OF BODY KINTSUGI BY SENKA MARIĆ

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Kintsugi is an ancient Japanese art form of “golden repairing” of broken ceramic pottery by using beautiful seams of gold or platinum. The essence of kintsugi is to visibly incorporate the damage into the aesthetic of the restored art piece instead of disguising it, so as to recognize the history of the object. The process usually results in a masterpiece more beautiful than the original. Senka Marić, a contemporary Bosnian and Herzegovinian poetess and writer, has used the art of kintsugi in a women’s literary experiment to create her 2018 novel Body Kintsugi, based on her own breast cancer experience. Accordingly, this paper analyses the poetic art of precious scars in Senka Marić’s novel Body Kintsugi.

NEW MUSEUM FACING OLD DILEMMAS

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The term ‘new museum’ came into use at the end of the 20th century, followed by ‘new museology’ which referred to questioning the very foundations of the traditional museums. In the concept of the new museum, its suggested social-political role placed museum professionals before new challenges, first programme-wise, by changing the focus from the artifact to the person, i.e. by creating museum content. This paper presents the concept of the new museum first through a prism of its basic concepts, and then through the prism of concepts contained in the ICOM publication. Although this publication recognizes the critical tones in advocating for the revision of the museum, we notice considerable reservations as a reflection of the museum institution crisis.

TRANSITION OF POP CULTURE FROM THE CONSUMER TO THE HYPER-CONSUMER SOCIETY

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The author of this paper deals with the turbulence of pop culture in a transition from the industrial-mass production to the post-industrial post-cultural hyper-consumer society. The first section identifies the consumer mentality of a consumer, preoccupied by the consumption of material and symbolic goods, and of a turbo- or hyper-consumer, who has raised consumption to the level of fetish. In both cases consumption could not function without marketing, advertising and creation of brands. Following a comprehensive analysis of the general characteristics of consumption (in the industrial stage of society) and hyper-consumption (in the post-industrial stage), the author uses sociological instruments to observe the consumption of popular cultural contents – film, television and various genres of popular music in particular. The section titled “Rock – from the music of rebellion to a market item” examines the transformation of rock music and different manners of its perception, from its first notes to this date. The author analyses the post-war youth market, including the industry of records, cassette tapes, CDs, music videos and other media. The economy of rock-n-roll and the commercial basis of this music have subjected rock to great temptations, leading to its double life, which on the one hand, serves the purpose to meet the tastes and expectations of a large and demanding audience, and on the other, to make profit so as to satisfy the insatiable appetites of various business people, music producers, organizers and managers.

EXHIBITION OF NEW GERMAN ARCHITECTURE IN BELGRADE, 1940

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Among architectural exhibitions that marked the interwar period of Serbian architecture, the exhibition of new German architecture held in Belgrade in October 1940 attracted great attention. It was the first exhibition of German national socialist architecture abroad. Top members of Yugoslav government took part in the organizational activities, with Prince Pavle as a patron. The exhibition was prepared by architect Albert Speer who was a public works inspector for the Reich capital, and according to the directives of the Foreign Minister Ribbentrop and propaganda minister Goebbels. The exhibition attracted a great deal of attention from both high-profile and wide public, and was reported widely by the daily press. It has interpreted the social, cultural and political aspects of German architecture and its reception in Serbian and Yugoslav architecture.

FILM IN EDUCATION AND CULTURE

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SCHOLARSHIPS FOR ARTISTS AND CULTURAL WORKERS

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ACTORS AND AUDIENCES

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CHILDREN AND BOOKS

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