/ 1968

DON DELILLO: THE CLOUD OF KNOWING

The paper considers an issue of recognising the truth in the novels of Don DeLillo in an attempt to show that works of this author never offer recognition of the truth through recognition of facts, historical documents and stories, but unveil the truth in inexplicable, mystical ways. The truth is mainly recognised collectively, while it seems that broad masses of people are connected by an invisible force that suddenly enables them to access a pool of knowlege; an extended hand of this invisible force are the media that hold the power to bring DeLillo’s characters to a state similar to religious trance. The paper will also try to define the role of an artist and art production, which, as it seems, hold the key role in moving the bounderies to truth recognition in DeLilo’s opus.

/ 1968

AND NOW FOR SOMETHING COMPLETELY DIFFERENT: AMERICAN ART AND AMERICAN POLITICS

My central premise is that approaching political literature as a grassroots expression of American democracy offers a crucial vantage point for a critical look at America’s erroneous conceptions of itself. Traceable to the ubiquitous culture of spin, questions about the level of citizens’ participation—or indeed, lack thereof—in the political process are really questions about the degree to which political apathy is rooted in and reflected by the culture in which we all participate.

/ 1968

LITERATURE, TRUTH AND CENSORSHIP

The paper deals with the relationship between literature and truth, taking as a point of departure an assumption that the relationship is to a great extent determined by the current interest of the public in certain work, interest of literary critics and marketing promotion. The example of the 2013 list of bestsellers shows an extent to which a self-presented truth of a work has an impact on the interest of the public, as well as to what extent the expectations as to the truthfulness shape works of literature. In the conclusion of the paper a view is taken that the truth assumes upon itself a kind of a role both of censorship and auto-censorship of the work that is being written.

/ 1968

TRUTHS AND TRIVIALITIES OF LITERATURE

The central claim in this paper is that literature is cognitively valuable as it offers specific cognitive benefits to the readers. This claim – which I call the intuitive attitude regarding cognitive dimension of literature – is defended against one very specific objection according to which literature offers knowledge already familiar to the reader, which makes it cognitively trivial. This objection – which I call argument from cognitive familiarity – is analyzed from the epistemic point of view, and not, as usually in literary aesthetics, from the aesthetic one. The analysis shows that there are significant cognitive benefits which are available even in those cases where we are already familiar with the knowledge that the work imparts.

/ 1968

IN FRONT OF TV SCREEN

/ 1968

PIECES OF THE PIROT CULTURAL MOSAIC BETWEEN THE TWO WORLD WARS

The paper deals with cultural trends in Pirot between the two World Wars from the aspect of amateur choirs and music societies, atmosphere in famous inns as stages of the Pirot civic life and the multiconfessional structure of the quotidienne. In its essence and content, the text aims to shed light on the corners of historical realities of Pirot in between the two World Wars, reserved for cultural workers often anonymous and sometimes quite forgotten. The paper is based on yet unpublished original material deposited at the Historic Archives of Pirot, and based on the facts found in monograph publications dedicated to certain periods in the history of Pirot and its surrounding area. It can also be treated as a contribution to the history of culture in Pirot between the two World Wars.

/ 1968

ART ATTACK – CURATING VIOLENCE IN ART

This paper aims to show how new and challenging trends in art generate and redefine ways of curating: It examines three trends. Firstly, the art being violently attacked; Secondly, the art incorporating violence and destruction as a part of its being; And thirdly, the art that attacks or fights back. The relationship between art and violence is conceptualised through the phenomenon of iconoclasm and the transformation of its meaning over time. Iconoclasm as a common name for acts of violence against works of art gradually evolves towards a positive meaning referring to innovation and avant-garde in art. Firstly, a brief history of violence surrounding art is discussed by examining two recent contemporary London exhibitions (Art under Attack: Histories of British Iconoclasm at Tate Britain and La Fine di Dio, Maurizzio Cattelan Lucio Fontana at Gagosian Gallery, London). Attacks on art were rarely driven by strictly aesthetic concerns; they were often motivated by ideological, religious and political values. Although iconoclast attacks were unique events they all include the same elements: an artwork, an artist, an iconoclast, an owner and an audience. The paper further explores a relatively recent trend where art begins to incorporate violence and destruction as a part of its discourse form. In the final section, the art that attacks examines art itself as an attack on contemporary issues or icons.

/ 1968

STOJANOVIĆ’S INTERPRETATION OF RICHARD HARE

In this paper the author critically examines one aspect of Stojanović’s reception of Richard Hare’s metaethics, claiming that the reception represents an unused or overlooked “epistemological chance”.

/ 1968

A CRISIS OF CHRISTIAN IDENTITY AND A CRISIS OF CULTURE

A key issue for every man/woman is creation of their own identity. In determining a human being, his/her attitudes to faith, moral and culture as constants of their spiritual and cultural individualization are of crucial importance. A crisis of Christianity over the last centuries was reflected in the crisis of culture in the regions where Christianity was dominant, but consequently, worldwide, wherever it cast its influence. The historical “failure” of Christianity was not only a consequence of outwardly factors – Church missions in a world deeply rooted in a religiously-magical understanding of God, but also a product of inner weaknesses of Christians, of their divisions and the absence of an authentic understanding of the Christ’s person, of the liturgical life of the Church and therefore in everyday life of the faithful, especially among the Christians in the West. The lack of “critical mass” of those truly faithful among Orthodox Christians, which was not only evident at the time of the Communist regime but also in the period that preceded it, brought about the “crash of traditional values” and proved to be the main cause of the marginalization of the Christian lifestyle and culture. A need for constant rethinking of one’s identity is the key to understanding a Christian attitude to any social phenomena or culture. Since spiritual and social relations are governed by the rule that no one pours new wine into old wineskins, it implies that Christianity, being wine of eternity, adds flavor to all times and to all human endeavors to change their lifestyle, find a pristine cause of being and true values. In these days of globalization, we witness that the Christians from the West keep losing their own identity as they get lost in “the world trends”, while the Orthodox Christians remain isolated in their tradition and unwilling to show any flexibility to change. Modern Christianity lacks the faith and experience of the Early Church that used to be capable of turning the world crisis into its own triumph – a triumph of the entire world over weaknesses gnawing at it. Just as people often turn God’s good intentions into evil ones, whereas God turns their evil into good ones, authentic Christians also perceive every crisis as a challenge to perform greater good. This is truly the deepest meaning of the idea of κρίσις – testing, reasoning, and making critical decisions. Therefore, each crisis, seen from a Christian perspective, is not only a hint of the doom that is to befall the world submerged in sin, but also a chance for a change of that regression and for salvation from a spiritual abyss, leading to a new era of Divine Grace.

/ 1968

NATIONALISM STUDIES AND THE SPATIAL TURN: THE CONCEPT OF NATIONAL TERRITORY

The modern “spatial turn” in humanities and social sciences has launched an interest in problems of space related to the phenomenon of nationalism. The basic concept through which the spatial issues are being investigated in the nationalism studies is territory, which is understood as a delineated space shaped through relations of power. Already the very definition of nationalism as a modern form of sovereignty contains a clear reference to the spatial dimension. Namely, in order to define the sovereignty of a nation, with a possibility of establishing a nation-state, one has to demarcate the reach of the national territory which would belong to the nation. This paper critically evaluates the approaches which analyse national territory as an instrument of violence and a factor of identity. Within the discourse of nationalism one can identify two different groups of arguments regarding the appropriation of territories by the nation: the natural and the historical. Natural arguments are already clearly presented in the writings of Johann Gottfried Herder and they are based on an assumption that there is an organic link and congeniality between the natural and geographical features of the land, and the characteristic features of a nation. On the other hand, the historical arguments are based on the claim that a certain territory represents a nation’s place of birth, or that it had belonged to the nation in a certain significant point in history. Discourses of nationalism regularly encompass different strategies and mechanisms of space representation, with a purpose to show that the national territory is an organic whole, as well as an indivisible and inviolable entity.