/ 1968
/ 1968
REPRESENTATIONS OF DAILINESS IN DON DELILLO’S NOVELS
/in Quotidian /by Kcs21blAAThe paper deals with Don DeLillo’s novelistic mediations of dailiness and representations of everyday life, focusing on the ways of communicating the sense of numinosity and latent implications of everyday practices and experiences. The paper analyses representations of the moments of characters’ or implied narrator’s intensified, mystical or suspicious susceptibility in relation to private or common dailiness, as well as conventional figures of flânerie, treated as narrative and stylistic devices. Different models of perception, always more or less mediated, as well as the evaluation of everyday things, scenes and situations including mystical attitudes, paranoia and melodramatic overreactions, all of which induce proliferations of meanings and excessiveness on daily basis, are also explored.
/ 1968
CHAMBERLIKE SPACE OF HOME AND POETICS OF DAILY SPACE
/in Quotidian /by Kcs21blAAThis paper aims to show a specific poetics of the closed (and partially) opened spaces in everyday life of the three main characters from the Miloš Crnjanski’s novel “Migrations” (Seobe). We tried to show the difference in their regard of everyday spaces from the points of view of Vuk, Arandjel and Dafina. Different perspectives of space arguably correspond to different life philosophies of the three characters influencing the way in which the space is eventually shaped in the novel.
/ 1968
SECRETS OF BELGRADE GLAVNJAČA DURING 1920s
/in Quotidian /by Kcs21blAAThe police building with the Belgrade City Administration, the notorious Glavnjača, was a symbol of repression and retribution against political opponents of the state regime in the Kingdom of Yugoslavia. The paper presents striking examples of dealing with non-political prisoners during the 1920s. Torture of persons with whom it was easy to identify, as they were part of the ordinary world, often attracted a lot of public attention. The case of Ljubica Ljubičić, a girl who died from the consequences of beatings in Glavnjača in 1924, filled the columns in the daily newspapers. Although the state showed unwillingness to deal with this issue during this period, Glavnjača issues have inspired engagement of various individuals and organizations, for example the Association of Belgrade Female Students.
/ 1968
CULTURAL DIPLOMACY
/in Reviews /by Kcs21blAA / 1968
IN MEMORIAM VLADETA JEROTIĆ
/in In Memoriam /by Kcs21blAA / 1968
TRANSITION OF POP CULTURE FROM THE CONSUMER TO THE HYPER-CONSUMER SOCIETY
/in Studies /by Kcs21blAAThe 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.
/ 1968
EXHIBITION OF NEW GERMAN ARCHITECTURE IN BELGRADE, 1940
/in Studies /by Kcs21blAAAmong 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.
/ 1968
THE SUBJECT OF DANCE: DANCE BETWEEN BODY AND SOUL
/in Aesthetics Today /by Kcs21blAADespite the fact that dance is inconceivable without a body dancing, the soul was traditionally understood as the subject of dance. Given the fact that the art of dance underwent its first aesthetical analysis during the modern era, as one of the fine arts, it was philosophically understood against the background of dualism, of soul and body being separated and mutually exclusive entities. In such context, the body was seen as a mere material object, deprived of any features required for the subject of any art. On the other hand, the soul was seen as active, productive, creative, as the origin of meaning and as using body to convey meanings to other minds. Therefore, for the first dance aesthetics the soul was interpreted as the subject of dance, and the body as its instrument. However, the modern idea of dance became the basis for its theoretical inquiry, to be questioned only in the second half of the 20th century. Relying on phenomenology, contemporary dance aestheticians inverted such idea, proclaiming body as the true subject of dance, and ascribing to the body all creative and artistic features that were traditionally ascribed to the soul. In this essay I will examine such inversion, by comparing the most important consequences of the traditional idea with new, contemporary and alternative solutions, based on the idea of body as а kinaesthetic phenomenon. The analysis will show the problems of such inversion, as well as possible further consequences of the idea that body, a kinaesthetic phenomenon, is the true subject of dance.
/ 1968
AESTHETICS AND MEDIA PHILOSOPHY
/in Aesthetics Today /by Kcs21blAAThis text deals with the relation between the aesthetics and the philosophy of the media, in a number of ways. First of all, the article shows that the philosophy of the media has been first recognized in the domain of aesthetics, or more precisely, modern aesthetics. Then, it determines the subject of research, in relation to aesthetics as the preceding discipline. In terms of research methods, the paper continues with a comparison between aesthetics and the media philosophy. Namely, the media philosophy, in contrast to aesthetics, appears exclusively in the context of interdisciplinary research. Also, the philosophy of the media is related to the aesthetics of communication, and is then considered in relation to the media aesthetics. It turns out that the philosophy of the media really uses the same repertoire of issues as the aesthetics, but additionally poses those questions that relate to new aesthetics i.e. the media reality. Such reality is, as we well know, a result of technology. The media philosophy, however, does not question just the artificially or technologically produced sensibility, it also deals with the theories that define such sensibility. This is why the media philosophy is an opinion of an opinion that studies the entire domain of the media, including different theories of the media. And finally the media philosophy, which is definitely more than a mere aesthetics of the media since it has its own epistemological, ontological, ethical and other aspects of study, is most of all based on the critique of the media as well as the background of the media – which is the world of the capital. It is, therefore, an engaged theory whose starting point is in aesthetics and the outcome in a critical questioning of the sphere of sensibility generated in the media.
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