/ 1968
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ТECHNOLOGY PATHWAYS: NATIONAL INVESTMENTS IN THE GLOBAL TECHNOLOGY GROWTH CONTEXT

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Conventional theory of economy claims that technology and

technological development are key factors to economic growth, while

economic growth is central to capitalism and institutions created on this

ideology. In this paper, the importance of technological investments

will be re-examined for both national and global economic growth,

having in mind the notion that technological innovations depend on

the institutions of the free market system. The growth of the national

economy also depends on the employment rate. Therefore, the idea

that technological progress might devalue human labour regardless

of the level of education will also be discussed in this paper. Since

technological innovations bring changes within the actual socioeconomic system, they also bring anxiety.

/ 1968
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KINGS VLADISLAV AND RADOSLAV AS KTETORS – SIMILARITES AND DIFFRENCES

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The starting point of this paper is an assumption that creation of

works of material culture requires necessary material means, but that

existence of ktetorial financial means does not in itself guarantee actual

creation of artistic works, nor their significance. The paper compares

two ktetors – the two heirs of King Stefan the First-Crowned. Prince

Vladislav, the younger son of King Stefan – one of the most prominent

persons in the Kingdom, but still not the king, had significantly different

starting position in his ktetorship in comparison with the King’s older

son Radoslav, who was destined to inherit the throne. As a son of

the concurrent king Stefan the First-Crowned, Vladislav raised his

ktetorial endowment, the Monastery of Mileševa, around the year 1220,

after which it was frescoed with assistance of his uncle, archiepiscope

Sava. This cooperation resulted in creation of the following frescoes:

Ktetorial portrait, Procession of the Nemanjić Dynasty, The Feast of

the Ascension of Jesus Christ, Harrowing of Hell. It is possible that

St. Sava also assisted in some other issues related to foundation of the

Mileševa Monastery. Radoslav was already crowned when he raised the

narthex of the Studenica monastery, and frescoes within this narthex

were also created under St. Sava’s influence. In comparison, Vladislav

founded an entirely new monastery, which was a significant financial

burden for a prince, while Radoslav, as the king, limited his ktetorial

activity on upgrading the Studenica Monastery which was endowment

of his grandfather St. Simeon. It should be noted that the Studenica

Monastery was ranked as the most important monastery in the church

hierarchy of the Serbs. After St. Sava passed away, Vladislav, who was

crowned King in the meantime, transferred the relic of St. Sava to the

Mileševa Monastery, thus effectively raising the importance of Mileševa

to the 2nd most important Serbian monastery. The legal regulation

of Mileševa was based on the Law of St. Sava, while previous regal

regulation of the Studenica Monastery became the Law of St. Simeon.

/ 1968
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EDITOR’S NOTE

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/ 1968
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THE ONEIRIC DEFILING OF REALITY: THOMAS LIGOTTI’S SUPERNATURAL HORROR

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Practically from its inception, the Enlightenment ideal of rationality

was equally criticized and fostered in European intellectual tradition.

The belief in reason as an exclusive property of human mind capable

of reproducing an authentic image of reality quickly revealed itself

as highly disputable from the standpoint of philosophy and art, as

well as from the angle of particular scientific disciplines (above all,

psychology and anthropology). Within the sphere of contemporary

literature, one of the greatest adversaries of the Enlightenment idea

of the rationally apprehensible nature of reality is the horror fiction

writer Thomas Ligotti. For this author, “the world as it is” has little or

nothing to do with rational consciousness, and correlates more strongly

with our deepest irrational fears which reveal themselves in feverish

visions and nightmarish images. While establishing his personal and

artistic worldview on the inversion of the usual ideas about reality,

Ligotti creates a specific type of subversive prose: one that depraves

the world of any higher meaning and denies all possibilities of

consolation to humankind. In this paper I pose the question whether

such disillusionment may leave any possibility for an individual to

act independently, be it in a subversive or non-subversive sense of the

word.

/ 1968
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GENRE SUBVERSIVENESS OF THE AVANT-GARDE POETRY

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At the beginning of the 20th century, Serbian literature has created new

poetic patterns within the avant-garde framework. The basic concept of

avant-garde was the concept of rebellion: against old literary traditions,

against religion, against history, against all kinds of authorities and

ideologies. Lyrical genre was the prevailing genre because it was

suitable for poetic experiment of the avant-garde authors. By changing

the lyrical poem and attacking its form, poets were attacking the

authorities who established those principles. Based on the modern

genre theory, research is questioning texts written by Stanislav Vinaver,

Miloš Crnjanski and Rastko Petrović and their creative procedures and

acts in order to indicate the use of lyric as means of opposition and

resistance to authorities and patterns.

/ 1968
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SUBVERSIVE TRADEMARKS OF MANGA CULTURE IN THE CONTEXT OF POPCULTURAL GLOBAL VILLAGE

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In spite of being initially produced for local audiences, Japanese comics

– manga – successfully transversed the national borders and increased

the economic and cultural significance of Japan. Manga influence has

been recognized within cool Japan domains of pop culture industry –

film, music, anime, video games, merchandising. Drawing on Stuart

Hall’s notion that popular culture is a space of constant tension and

struggle, I reinvestigate the subversive trademarks of this “juvenile”

Japanese medium, in terms of visual and narrative style, as well as its

mechanism to generate resistance to American mass culture hegemony.

Furthermore, the emphasis is on a controversial lolicon genre which

can be read as manga rebellion against conservatism in the realm of

fiction.

/ 1968
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REBELLION IN GAVRILA PRINCIPA STREET IN BELGRADE

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The paper examines (anti) hegemony as a strategic necessity of

contemporary culture of resistance, embodied in the complex social and

political context of globalization and its consequences, with particular

reference to the strategies of contemporary culture of resistance in

contemporary Serbia. The focus is on a comparative analysis that

includes the graffiti Gavrilo Princip (2013) by an anonymous artist /

art group BUNT, found in Gavrila Principa Street in Belgrade and the

video spot for the song titled “Bunt” (2007) by the band Disciplin A

Kitchme, related to the last handmade candy shop in Belgrade with the

address in the same street. The two selected examples are created in a

different subcultural contexts of Serbia today, with different ideological

signatures and artistic connotations: while the graffiti Gavrilo Princip

could be associated with infra-political traditions of those subcultures

in which the narrative about the Serbian national struggle is diligently

nurtured, the video spot “Bunt” by Disciplin A Kitchme is located in

the anti-imperialistic and anti-consumeristic tradition of rock-n-roll

rebellion, with a particular focus on Serbian society and its political

pathologies, including the unusually strong fostering of a nationalist

political discourse. Selected art works, however, are both characterized

by the controversial status of the political, historical and cultural

Yugoslav legacy, which is re-examined by and through them. The

works analyzed – precisely due to the complexity with which they

deliberately refer to the Yugoslav heritage – are recognized as places of

subversive and polyvalent resistance to the dominant discourses within

the public speech arena of contemporary Serbian society. Thus, Gavrila

Principa Street reveals contemporary Serbian culture of resistance as

a hub/node of ideologically and culturally opposed discourses that are

mutually invoked and disputed, producing the strategically needed

“noise” indispensable in the process of interfering and transcoding of

the hegemonic social and cultural codes.

/ 1968
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BURNING IN THE 21st CENTURY

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The text delves into the so called anti-gender ideology. Anti-gender

ideology is a global phenomenon established on a strong resistance to

changes in the domain of gender, sexuality and family. Its strategies

re-define the notion of subversion, demonstrating that subversion

nowadays can also be very conservative.Although anti-gender ideology

appears as a cultural form of resistance which regularly evokes religion,

the text claims that it works primarily as a political tool, a secular as

much as a religious instrument for defining the desirable society of the

21st century. The first part of the text demonstrates the paradoxical,

even contradictory articulations of the claims in support of anti-gender

ideology. A special emphasis is put on what becomes defined as the

non-scientific character of gender, the misuse and abuse of language

of gender, and its covert political aspirations which supposedly hide

themselves behind the neutrality of science.In the second part of the text,

the role of religion, Roman Catholic and Serbian Orthodox religions in

particular, is briefly examined. In the last section, I try to demonstrate

how gender allowed for an intersection of various oppositions to the

rearticulations of the meanings of the right, the human, freedom and

equality.

/ 1968
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YOU ARE NOT A LOAN

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“Debt binds the 99%” is one the many slogans created by

Strike Debt, a grassroots movement of debt resisters that began in 2012

in New York City. In this article, I analyze Strike Debt’s attempt to

organize debtors and build conditions for a debt strike. I use the specific

example of Strike Debt to reflect of the possibilities and challenges of

resistance in the age of neoliberalism. I argue that debt activists were

successful in shifting the public conversation from debt as a personal

failure to debt as a structural condition, thus laying the groundwork

for the emergence of a collective indebted subject. I also underline

the importance of utopian demands in the debt movement, and in any

attempt to resist neoliberalism. 

/ 1968
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EDITOR’S NOTE

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