/ 1968
ORGANIZATION OF THE BISHOPRICS IN AUTOCEPHALOUS SERBIAN CHURCH IN 1219
/in SERBIAN ORTHODOX CHURCH /by Kcs21blAA / 1968
EVOLVING OF THE AUTOCEPHALITY OF THE SERBIAN CHURCH
/in SERBIAN ORTHODOX CHURCH /by Kcs21blAAAccording to the Eastern Roman (Byzantine) ecclesial/political theory,in order for a nation to be granted church autonomy by the Ecumenical Patriarchate, they had to meet certain statesmanship, political, ecclesial and culturological standards required by competent authorities of the Byzantine Empire. From the settlement of the Serbian tribes in the seregions during the 6th century, the process of cultural elevation of the Serbs involved their Christianisation, popular education and creation of first smaller and then bigger “political” communities, in accordance with the Christian patterns of the Eastern Roman Empire. After several ages of rising into the Christian life, granting of autocephality to the Serbian church in 1219 was a clear indicator of spiritual maturity of the Serbian people, as well as of the place and role of the Serbs on the geopolitical map of Southeast Europe at the start of the 13th century.Since then, the head of the Serbian church (archbishop) was officially granted a place in the hierarchy of Orthodox leaders (diptych) while the Serbian king obtained a high position in the Byzantine hierarchal system of political rulers. The paper points to the basic trends of transformation of the Serbian nation from paganism to Christianity and its gradual evolving in terms of ecclesial life until 1219, when the Serbs were officially recognized among civilized Christian nations.
/ 1968
EDITOR’S NOTE
/in SERBIAN ORTHODOX CHURCH /by Kcs21blAA / 1968
IN MEMORIAM PETRIT IMAMI (1945–2019)
/in In Memoriam /by Kcs21blAA / 1968
ABOUT ISLAM
/in Critiques and Reviews /by Kcs21blAA / 1968
ADHERENCE TO RESISTANCE IN THE MUSIC OF POPULAR CULTURE
/in Studies /by Kcs21blAAA division of cultural events to high and low, as well as differences
between the established and popular culture, are subject to a number
of interpretations of cultural theories. The right-wing critical thought
defended the “real” culture from the crude culture of the lower
social classes, while the leftists found mass culture positive for its
democratization. Thanks to the impact of the global media, position
of music occupies a high place in the hierarchy of industry and market
culture. The opposed relationship of art and popular music is being
relativized in terms of class identification. The ideology of taste, which
is also related to the possession of a larger or smaller cultural capital,
has adapted to the requirements of populism and market. Agreeing to
concessions is a kind of democratization of elite musical forms (for
example opera), and movement of various musical forms in the system
of two-way (higher / lower) and circular (from one form to another)
forms representing both resistance and compliance in mutual encounter
and permeation of classical and popular music, both in practice and
in theory. With the exception of the avant-garde “outages” in classical
music or lowest genres of folk, all other types of music (classical, jazz,
rock, pop, folk) have found some sort of balance in their relationship.
Along with the general crisis of the spirit of criticism, this certainly
contributed to value relativism, as one of the essential features of
popular culture.
/ 1968
THE WORDS TAKEN AWAY: DEFENCE OF CREATIVITY AND THE CONDITIONS OF RADICAL IMAGINATION
/in Studies /by Kcs21blAAThis paper examines contemporary interpretations of creativity and
instrumentalisation of the concept itself, both in neoliberal discourse
and in public policies that have become the driver of ever deeper
society inequalities. A review of divergent production research from
the second half of the 20th century, as the foundation of all further
psychological studies, and the analysis of implicit social agendas
reveal three controversial points of theoretical starting points in which
creativity was viewed exclusively as adaptive ability validated by the
product – the outcome of individual achievement. A response to this
simplified concept of creativity has arrived from researchers focused
on emerging processes within the collective. In new studies, they have
confirmed the primacy of social interaction in a cognitive development,
shifting the research focus from adaptive to transformative function,
from productivity to processuality, from individual to group level of
creativity. Therefore, at this moment, it seems to be fully justified to
examine creativity in the light of wider social changes, considering the
conditions of Castoriadis’s concept of radical imagination, especially
because the neglected features of creativity are a common resource, as
well as a requirement of change.
/ 1968
OLGA KEŠELJEVIĆ BARBEZAT: INVISIBLE PARTICIPANT AND WITNESS TO AN EPOCH
/in Studies /by Kcs21blAAIn this paper, for the first time in national historiography, the life and
work of Olga Kešeljević Barbezat, an art historian and actress, are dealt
with in more detail. Having arrived in Paris in 1936 with the intention
to defend her PhD thesis in art history, she established relations with a
circle of Yugoslav artists: Ljubica Cuca Sokić, Ivan Tabaković, Bora
Baruh, Petar Lubarda etc. During the Second World War she married
Mark Barbezat, a young intellectual who would soon launch L’Arbalète,
the publishing house well-known for the works of Jean Genet, Antonin
Artaud, Albert Camus, Lana Leclercq, Sartre, Eluard etc. Considering
the published correspondence between Barbezat and Genet, numerous
dedications in the books owned by the Barbezat family, Olgaʼs portraits
painted by some of the most influential Serbian twentieth-century
artists, the testimonies of the successors of their families, postcards
and letters sent to painter Nedeljko Gvozdenović (kept in the Archive
of SASA in Belgrade), as well as other material traces, this paper
discusses the role of Olga Kešeljević Barbezat on the cultural scene
of France, as well as the intelectual relations she had with the Serbian
artists whose works were part of the Barbezat art collection. At the
same time, knowing that the family heritage was put up for auction in
2016, after Olga Kešeljevićʼs death in December 2015, it is important
to think about the availability of any new material and possibly existing
personal correspondence with Serbian artists that would contribute to
the results of this research in the future.
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