/ 1968
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DELEUZE AND GUATTARI’S RHIZOME CONCEPT IN ARCHITECTURE, ART AND DESIGN

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The author deals with the rhizome concept in art, design and architecture pointing to the fact that these disciplines are a combination of esthetic, psychological and political differences which are constantly exposed to complex interactions. The rhyzome concept fits into the Postmodern where all dots connect, where there is no more growth and everything relates to anything. The division into reality (of the world), the representation (books) and the subjectivity (author) no longer exists. The idea of the rhizoma connects with the Rem Koolhaas’s narrative on the modern city of Junkspace, which is compared to a postmodern airport space, refering to its architectural and spatial features.

/ 1968
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MАYA CIVILIZATION IN ARCHITECTURE

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The aim of this text is to explore the ancient Mayan civilization, preserved examples of drawings, graphics, photography and architecture dating between the eighteenth and the nineteenth century. Methodological instruments were developed to follow a vertical chronology extending from the beginnings of research and artistic presentation of the ancient Maya civilization in the work of European artists. A cross reference is made of the researched objects of study and art attachments are systemized to allow tracking of historical circumstances that have initiated certain expeditions, the conditions and the expertise of those who participated in them, as well as the contributions they made to the understanding of the Mayan architecture. Also, the context of European culture has been taken into account as well as the view of architecture as a civilization and artistic achievement of the ancient Maya. Visual presentation of the ancient Maya civilization began with the earliest research expeditions. Although initially amateur, they still managed to build a certain degree of visual culture, which was the foundation of subsequent research. Taking into account the artistic context of architecture, but also the fact that the European scientific circles in the eighteenth and nineteenth centuries, in the field of social and humanistic disciplines, have a distinctive Euro-centric character, it seems justified to emphasize the importance and the scope of the contact between the two ancient civilizations, the European on the one hand, and the Meridian civilizations of the New World, on the other hand.

/ 1968
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THE MOVING PICTURES OF TERROR: SOCIAL ASPECTS OF YUGOSLAV HORROR GENRE (1973-1990)

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Analysis of Yugoslav horror subgenres enables reading film contexts. This form of fantasy reveals the fears, anxieties, hopes and objectives of the society. Serving as a means of distorting the dominant values, it also figures as their criticism. Flirting with the subgenre of apocalypse, drama, slasher movie, ontological film and even comedy, horror films show the reverse side of social reality. In this sense, the Yugoslav horror indicates fear of disrupting social relations, porosity of values built during socialism, anxieties of economic meltdown, the relativity of concepts such as progress, freedom and a better future. While the narrative of some films can be read as a critique of the present, others anticipate future conflicts and point out political problems in the rise of ethnical and confessional conflicts.

/ 1968
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THE STAKEHOLDER NETWORKING APPROACH AS A NECESSARY FACTOR OF CULTURAL TOURISM DEVELOPMENT IN SERBIA

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One of the biggest challenges in the development and management of tourist destinations that base their offer on cultural attractions, is the need to harmonize interests of numerous actors (stakeholders). Stakeholder analysis is a technique used to identify the institutions, groups and individuals that influence the management of cultural resources and attractions. It also considers the wider socio-economic and political context that influences implementation of strategic measures and activities, as defined by the Tourism Development Strategy of the Republic of Serbia. The goal of this research is to identify a system of tourism development in Serbia and principles for formation of tourist destinations. It also attempts to determine if practical application of stakeholder approach is present. Furthermore, this paper defines the levels in which some stakeholders operate, their roles and also limitations in their practices that influence the development of cultural tourism in Serbia. Common interests are identified that could become a basis for the harmonization of general attitudes and facilitation of the cooperation between stakeholders. The aim is also to create a system that would enable a practical application of stakeholder networking leading to sustainable development of tourist destinations.

/ 1968
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CONFRONTATION OF THE SERBIAN AND THE RUSSIAN CULTURAL AND ARTISTIC OPERA PRAXIS IN THE NATIONAL THEATER IN BELGRADE BETWEEN THE TWO WORLD WARS

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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.

/ 1968
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FORGERIES AND FORGERS ON THE FINE ARTS MARKET

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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.

/ 1968
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BETWEEN FICTION AND REALITY: THE MAKING OF DANIEL BRAUT (BONDESTUDENTAR) BY ARNE GARBORG

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This article analyses a mismatch between student reality and fictive depictions of student life, in a classic work of Norwegian literature – Bondestudentar (1883) by Arne Garborg. The novel is translated into English as The Making of Daniel Braut. Addressing the dichotomy between (false) ideals and (true) reality, which is in the center of Garborg’s novel, the article explores Garborg’s critique of the idealist myths about academic life. Romantic representations of the student were, at the time when Garborg was writing his novel, still very much alive in the Norwegian literature and thought. His book seeks to unravel the falseness of these idyllic images, by presenting a “realistic” image of the poor, famished, morally collapsed student. While the first part of the article explores the method by which the story unravels the fictitiousness of the ideas of an “ideal student life”, the second part analyses the readers’ reactions to Garborg’s representations of academic life. Majority of Garborg’s contemporary readers did not acknowledge the fictitiousness of his realistic interpretations, finding them to be true depictions of students in the Norway’s capital, and treating the protagonist of the novel as their contemporary.

/ 1968
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CULTURE, CLASS AND COUNTERFEIT GENEALOGIES IN ANGELA CARTER’S WISE CHILDREN

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Drawing on concepts from cultural studies and cultural materialism, Angela Carter’s novel Wise Children can be interpreted as a text where struggles between dominant and subordinate groups are fought, illuminating thus the markedly leftist undertones of its narrative. Carter foregrounds the family lies of the Hazard household to destabilize the entrenched notions of paternity, culture and class infrastructure in 20th century Britain, exhibiting a postmodern awareness of the multiplicity of truth and its distortion by the culturally hegemonic groups. The novel’s narrator, Dora Chance, tells her own and her sister’s history of exclusion from the Hazard clan – the British theatrical royalty – and their consequential rejection by the institutions of elite culture. Her account undermines the foundations of the British class system and the low vs. high culture dichotomy by divulging multiple misattributed paternities that underpin these social constructs.

/ 1968
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LYING IN THE FILM LOS AMANTES PASAJEROS BY PEDRO ALMODÓVAR

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In his film I’m So Excited (Los amantes pasajeros), Almodóvar assigned direct critical function to his movie. Using many words and expressions to legitimize expressed lies, Almodóvar’s movie provides us with a corpus for analysis of the linguistic means that are used in Spanish in a communication based on lies. Considering that people primarily lie using language, from a linguistic point of view, a lie could be analyzed as an act of speech. Since lying was traditionally an ethical issue, this paper analyses a lie from a linguistic perspective and views their false assertions as acts of speech within a conversational context. Lying is viewed as a speech act of insincere assertion. Telling a lie in a performative construction would destroy it. According to The Oxford English Dictionary, a lie is “a false statement made with the intent to deceive“. To lie is to make a believed-false statement with the intention that that statement be believed to be true by the other person. Grice (1975) concluded that when uttering a speech act, the speaker has certain intentions. To understand a speech act is to uncover speaker’s intention. In order for a lie to be considered a successful speech act, speaker’s intention must be concealed and since it is impossible for an addressee to recognize these intentions every time, the speech act of lying can be accomplished. In terms of conversational maxims, we are interested in the maxim of quality: be truthful. A speech act of lying directly contradicts this maxim. Examples for this paper were found in the film I’m So Excited (Los amantes pasajeros, 2013) by a famous Spanish director, Pedro Almodóvar. The examples are cited and analyzed chronologically.

/ 1968
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PHILIP K. DICK IN AMAZON’S CASTLE

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Amazon’s adaptation of The Man in the High Castle brings about numerous changes to the original Philip K. Dick’s story. However, even if fidelity is no longer regarded as a valid criterion for evaluation of adaptation, as it is no longer considered essential in theory and criticism, the series is not an example of successful adaptation due to its failure to translate the key ideas of the novel into the new form. The series brings into focus elements that introduce, intensify and multiply Dick’s fake fake instead of highlighting those that contribute to the discovery of inner truth. In its centering on the surface, visible consequences of the lost war and not on America as an authoritarian creation in which, due to endless replication, it is no longer possible to discern authentic objects, people and realities from the fake ones, the adaptation fails to highlight key social, economic and political problems and dilemmas that equally plague the present and the past, as Dick’s unique fictional realities do. Unfortunately, the idea of fake fake is successfully conveyed to the viewers – or perhaps it would be more suitable to call them consumers – primarily by transforming the novel into a product with potential for commercial exploitation and its own replication into new seasons.