/ 1968
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TRADITIONAL RELIGIOUS CULTURE, POPULAR AND OFFICIAL ORTHODOXY

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Revitalisation of official orthodoxy is a process running in paralel with the revitalisation of popular orthodoxy and popular religiousness, where the supremacy of one over the other depends on a number of factors, social and political circumstances and cultural preferences. Reception and interpretation of the Orthodox church messages reflect in the approximation of the committed church-going believers to the ecclesial orthodoxy, while most declarative believers adopt, understand and interpret the orthodox learning, church rules, rituals, ethic norms and the importance of religion in everyday life in their own individual ways.

/ 1968
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THE THIRD CULTURE: PHILOSOPHY AND SCIENCE

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The phrase ‘third culture’ was created to denote activities of scientists and philosophers who try to articulate philosophical questions based on the results of natural sciences and to provide answers under the framework of naturalism. The aim of my paper is to analyse the most important aspects of the third culture and some philosophical implications of that conception.

/ 1968
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IN THE CONTEXT OF COMMUNICATION

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/ 1968
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ATTITUDES OF BELGRADE CITIZENS TOWARDS DIFFERENT TYPES OF GRAFFITI

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Graffiti can be seen as a specific means of communication used by young people in urban environments. Graffiti are a very heterogeneous phenomenon, certain aspects of which border on art, while others remain in the domain of vandalism. Considering the absence of graffiti related research in our country, this study is exploratory and has two main goals – to assess the perception of Belgrade citizens on the prevalence of diverse types of stylized and non-stylized graffiti in different urban locations and to determine the participants’ relationship towards graffiti, and their subtypes, as well as the appropriateness of a number of locations for creating graffiti. A convenient sample of 100 citizens of Belgrade has completed an on-line extensive questionnaire. The results indicate that non-stylized graffiti are perceived as more prevalent than stylized graffiti, while the relationship towards stylized graffiti is significantly more favourable. This finding could be explained by the greater amount of effort invested in stylized graffiti which leads to their higher aesthetic value. Certain public spaces – such as surrounding walls / fences, underpasses, overpasses and bridges – which are perceived as most covered in graffiti are at the same time seen as most appropriate for this type of activity.

/ 1968
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OTHERNESS OF THE ROMA ON THE MARGINS OF BARBARIANS – STEREOTYPES, PREJUDICES AND (ANTI)ZIGANISM IN SERBIA

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This paper contemplates the topic of otherness and various forms of intolerance towards the other (xenophobia, racism, nationalism etc.), by referencing it to the postcolonial theoretical discourse. In doing so, the position of the Roma minority − the most vulnerable and marginalized other in Serbia, is envisaged from the position of knowledge and power of the first (the majority population). Tsvetan Todorov’s theoretical platform and his definition of the term barbarian were the starting point for the case study analysis – the reality show Šatra which was broadcasted in spring 2012 on the First Serbian Television. Although the initial objective of the Šatra show was to promote tolerance and criticize racism, this paper identifies the reality show as a mirror of the society (a reflection of society) and the paradigm of Romophobia in Serbia, as the show draws on hidden racism to reveal the stereotypes and prejudices of the mono-cultural majority. By referencing the concepts of Orientalism, Balkanism and Antiziganism, this paper defines the term Ziganism as the theoretical discourse based on the binary oppositions with regard to the Roma as others. The main thesis of this paper is that the members of the Roma population are not the ones who are barbarians (those incomprehensible foreigners at a lower civilizational level), but rather that we are − the majority population which treats the Roma as non-humans.

/ 1968
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SPECIFIC PURPOSES OF FRENCH LANGUAGE TEACHING TO FINE ARTS STUDENTS

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Studying French language as part of a standard curriculum of fine arts undergraduate studies can be considered a special form of foreign language teaching, which is also known as FSP (French for Specific Purposes). The FSP in this context refers to а language course designed for students aimed at preparing them for those situations that typically would arise in a professional and a higher education context in fine arts. Implementation of such a program requires a number of preparatory didactical steps, namely: needs analysis, data collection and development of didactic materials. Bearing in mind the lack of specialized French language textbooks for fine arts students, a teacher of French language has to analyze target situations and in line with the set communication, lexical, grammatical and intercultural learning targets and create didactic materials on his/her own. The goal of this form of teaching is to integrate fine arts content with French language learning by the selection of special didactical materials and methods.

/ 1968
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OFFICIAL EDUCATIONAL STANDARDS IN THE FIELD OF VISUAL CULTURE AT THE END OF COMPULSORY EDUCATION – HOW TO OVERCOME DEFECTS

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Considering general principles of fostering creativity in children and youngsters together with empirically proven knowledge of numerous experts and the tendency of modern teaching methods in the field of creativity, it becomes clear that the range of knowledge, skills and attitudes in art education provided by the Educational standards for the end of compulsory education in Serbia is incomplete and unsystematic. The current conception of Standards in the field of visual arts is completely pointless due to the omission of the aspect of creativity. The consequences of the issues established in the Current conception of standards in the field of visual arts are harmful not only for the development of children’s creativity, but also for the development of the entire personality. In this way the basic human, above all children’s right and need for creative expression and action is formally disabled. Also, performing of the key objectives in art education, especially teaching art is disabled. The key objectives are just formally represented in some issues within Standards without possibility of their systematical realization within the current educational practice.

/ 1968
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ART PEDAGOGY – INTEGRAL PART OF THE CONTEMPORARY CURRICULUM

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In contemporary society children grow up surrounded by visual sensations. That is why pupils react positively as soon as they have the opportunity to learn through, or with help of visual arts. Since art is an essential part of human experience, pupils should be more involved with it and spend more time studying it during their compulsory education, in order to understand that man can communicate not only verbally but also though music, dance, drama and visual arts. The paper presents contemporary theorists and their perception of the benefits that visual arts have on education of children and youngsters and the effects that art education has on harmonious development of personality. Towards the end of the 20th century, many developed countries changed their understanding of the roles and functions of education in the field of visual arts in compulsory education and began developing new strategies regarding compulsory education in general, with special emphasis on art education.

/ 1968
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CULTURE AS PASTIME

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Dominant models of knowledge, human being and culture have been discussed from the humanistic aspect of their effects on education. Simplified psychological models now in use in education, treat knowledge as linear enhancement of memory, children development as acquisition of adult role, and human being as a homo faber, emotionless, cognitive creature. That way, importance of developmental and interactive nature of culture and art are not recognized. Practical consequences are affecting education outcomes, and are especially significant in the fields of art and creative education. Art is minimally included in the curricula and if at all, it is mainly represented by art history with passive learning as basic process. Instead of that, active, explorative interaction is needed in order to establish not only child – art relation, but also child – culture and child – science relations. At the same time, transformation of a teachers’ role, shift from knowledge presenter toward interactive partner is needed. These are preconditions not only for the improvement of education, but for the general change in understanding culture and its significance in child development and the development of the society in general.

/ 1968
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EDUCATION AND ART VALUES

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This paper discusses the value orientation of education through historical analogy between the reduction of education to techne into sophistic movement in ancient Greece, and the demands of the current educational reform. This raises the question of whether art today may be the carrier of values that lead orientation of education. Relation of art and education are considered in three forms: as art in education, education for art, and artistic education.