/ 1968

NEW HYPERTEXTUALITY IN LITERATURE: READING, EVALUATION, EDUCATION

Tense but fruitful relationship between literature and technology springs from the impression of writers and literary scholars that their activities are irreconcilably different. However, literature and science are not the worlds apart, since many critics nowadays resort to explaining narrative experiments and revolutionary representational practices in literature as attempts to come to terms with the theories of Einstein or Heisenberg. The paper examines revolutionary changes brought by digital technologies into the realm of reading, writing and textual interpretation, with the introduction of hypertext. The application of informational technology in reading, writing and teaching literature is impossible without understanding the theory and practice of hypertext. The Internet as a research tool in teaching literature and literary studies in general changes the book, since it ceases to exist only as a printed text and part of the literary canon, and turns into a hypertext which offers new strategies of research, elaborated in the paper.

/ 1968

NEW MEDIA LITERACY: PAGE BREAK AND SCREEN BREAK AS NEW STRATEGIES OF READING

The paper examines the influence of new technologies and media on the book, seen both as printed text and screen structure, as a teaching aid and the constituent part of literary canon. The blurred boundary between the screen and the print clarifies the fact that screen break and page break demand diverse reading strategies: requiring the particular focus, print presents the reader with monovalent information, while screen makes the reader’s attention difused, offering a dazzling array of sources but not the reliability of information. The cultures of print and screen are further divided owing to different attitudes towards new information techologies, defined by Susan Greenfield as webophoria, webophilia and webophobia. While webophobia springs from eternal human fear that illusion might at a certain moment irretrievably erase the truth, webophoria fails to see that the media structure of the Internet changes is irrevocably as well: it has moved from a democratic institution of polilogue towards a commodified dimension of monologue.

/ 1968

EDITOR’S NOTE: MAPPPING FEMALE CREATIVE ENGAGEMENT – GYNOCRITICS AS AN ACTION PRINCIPLE

/ 1968

M. B. PROTIĆ: MILENA PAVLOVIĆ-BARILLI

/ 1968

JEWELRY WITH THE SERBS

/ 1968

GINA PISCHEL: UNIVERSAL HISTORY OF ART

/ 1968

DR SV. RADOJČIĆ: TEXTS AND FRESCOES

/ 1968

KORNEL FILIPOVIČ: MR. NIETZSCKE’S GARDEN

/ 1968

VISUAL ARTS IN THE TIME OF NEW MEDIA

The functions that have been traditionally ascribed to visual arts, today belong to the mass communication media, when it comes to the theoretization of the spectacle as a present mode of cultural visibility. This assumption is probably due to the new understanding of paradigmatic pieces from the history of art, as well as the current marginal place of visual arts in social life. In this paper we will try to locate the conditions of such an overtaking of the ‘authorizations’ or else, the consequences of the transfer of functions of communication exchange and appearances from the field of artistic experience to the sphere of new electronic platforms, and embodied media ambience that is being generated by them. This is not just a plain change of the field, since every media surrounding brings its own policies. Therefore, the problems we are going to address deal with the heritage of visual arts in the present time and their current status in relation to the existing aesthetization of the reality. Thus our goal is to question new, unlimited possibilities given or imposed to the visual creativity, dispite the imperatives of its specialization brought about by the contemporary dominant order of global market.