/ 1968
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CULTURE AND CRIME

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The relationship between culture and crime is illustrated by analysing two topics: the first is the influence of culture on determining the circle of incriminated behaviour as well as the way in which society reacts to crime; the second relates to the effect of certain cultural factors on the genesis of criminal behavior. In this paper, the author analyses the most important contributions of European social thought from the end of the 19th and early 20th centuries, to the Chicago School and its followers and, finally, the British cultural criminology. When it comes to the applicability of the above-mentioned criminological schools to the case of Serbia, it is a real detriment that the tectonic changes that have taken place over the past 100 years (two unsuccessful attempts to create a multinational and multireligious society: both in the Second World War and in the civil war in which Yugoslavia was dissolved; intensive industrialization and urbanization that in the middle of the 20th century led to mass migration from the village to the city; the departure of workers into developed countries and their problems of adapting to a different culture; the collapse of the socialist model and the transformation into capitalism through “robbery privatization” which has led to an alarming stratification of the society…) almost failed to encourage scientists to examine how the related changes in the sphere of culture reflected on the state of crime. The latest wave of refugees from the Near and Middle East who went through the territory of the Republic of Serbia (some of them remaining here permanently) opens up new opportunities for such studies; the same is true for the cultural adaptation of tens of thousands of refugees from the territory of the former Yugoslavia and internally displaced persons from Kosovo and Metohija; here we need to mention the subculture of young people, football hooligans, cultural patterns of the so-called ’turbo folk’ and other youth subcultures. Criminologists in Serbia have, therefore, a multitude of possible subjects of research they should explore.

/ 1968
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NEW CULTURE OF ALCOHOL CONSUMPTION: BINGE DRINKING – CONSUMPTION INSTEAD OF COMMUNICATION

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This paper studies new patterns of alcohol consumption among adolescents and young adults – binge drinking. It regards this type of gathering and socializing as a culture (subculture) that emerged in Serbia at the end of the 20th and the beginning of the 21st century. A question is posed whether this model of drinking is related to the need to belong to a group or whether the group instead only presents a necessary context for the fulfilment of individual needs. It is also noted that the new drinking culture significantly challenges the existing gender stereotypes (both in terms of the model and the intensity of drinking). Besides presenting a number of studies on binge drinking and the cultural and social risk factors, two narratives are also analysed, of a male and a female respondent. Findings show that the new culture of drinking significantly differs from the traditional one, not only in regard to the manner of consumption but also to the context, spatial and social, as well as the motivations behind it. The former “socialization” paradigm is now being replaced by the individual motive, hence a new term “consumption instead of communication” is added to the old term of “controlled loss of control”.

/ 1968
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INANIMATE AND MECHANICAL WORLD OF PYNCHON’S V.

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If one is to find a single word to depict the novel V. by Thomas Pynchon, it appears to be the word chaos. The lack of order surfaces as a universal principle which is increasingly taking control of the world as we know it, manifesting itself in different ways throughout the entire novel. Chaos is seen in the absurd lives of the post-war contemporaries, in the half-truths resulting from the abundance of incomplete data creating overall paranoia, as well as in the growing tendencies towards the inanimate and the mechanical, which make the distinction between humans and machines almost completely blurred and anticipate a dystopian vision of future as a dark place inhabited by automatic creatures. In other words, the world of the novel V. is a place where the concept of truth becomes non-existent, where it is no longer discernible who or what is in control from who or what is being controlled, and where even the distinction between who and what loses its foothold. In such a chaotic and disoriented world, governed by information entropy and half-truths, the quest for meaning is possible only within the realm of fantasy. In fact, fantasy appears to be the only enclave of knowledge, the parallel world which allows both characters and readers of the novel to answer the fundamental questions of human existence or at least intuit what humans tend to call the truth. Accordingly, the novel V. brings up a question whether the world it depicts represents our future reality or the reality as it is and as it has always been.

/ 1968
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A BRIEF HERSTORY OF LIVING AND DYING IN THE COLLECTION OF POEMS UNTIL THE NEXT DEATH BY SENKA MARIĆ

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Senka Marić, an acclaimed Bosnian and Herzegovinian poetess, has written a brief “herstory” of female living and dying in her 2016 collection of poems Until the Next Death. Unlike history – seen as HIStory, meaning that history is mainly written by men – HERstory reveals a woman’s side of the world through her personal story. Until the Next Death is, in many ways, an autobiographical collection, so it can be seen as a poetic memoir of Senka Marić. One of its many poetic levels is her own genesis, both as a poetess and a woman. Also, it could be seen as a lyrical novel depicting her female ontology. Accordingly, this paper analyses the concepts of female “being” and “not-being” in Senka Marić’s book Until the Next Death, as well as the elements of autobiographisation and mythologisation of herstory, including elements of matrilineality in all these cases.

/ 1968
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FINDING ONE’S PLACE IN THE FEMALE HISTORY CHAIN: MATRILINEALITY IN THE OPUS OF ELENA FERRANTE

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In the text, matrilineality reads as the core theme in the opus of Italian novelist writing under the pseudonym of Elena Ferrante. In her first novel, L’amore molesto (1992), she has introduced a mother-daughter pair of characters: the daughter character has later developed into an ever growing network of female relationships all the way to the latest book of the so-called Neapolitan tetralogy. Interpretation is based on finding key characteristics that determine relations inside the matrilineal chain – like the daughter’s experiences in search of an ideal mother figure; her recognition of the existence of female history and the need for its reinterpretation so she can be liberated from the imposed patriarchal frame; becoming a mother and a wife and redefining these roles most often by deserting her family and/or her husband to live a life which is not constricted only to the private sphere etc. Thus a parallel is drawn between female characters not only within the text of the novel but also in terms of the entire opus of Elena Ferrante.

/ 1968
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MATRILINEALITY IN RABBINIC JUDAISM

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This paper examines the origins of matrilineal principle in rabbinic Judaism and analyses the most important motives for this rabbinic practice. Despite the fact that marriage was recognized as a sensitive part of a private sphere, Ezra brought huge legal changes in Judea in the 5th century BC. He has excluded foreign wives from the corpus of Jewish people. There are still many dilemmas about the influence of the Roman legal system on Ezra, since it is clear that the matrilineal principle was introduced to Israelites at the time of Ezra. Orthodox Judaism still follows matrilineal descent. It holds that anyone with a Jewish mother also has irrevocable Jewish status; in other words, even if someone with a Jewish mother converts to another religion, that person is still considered Jewish by Jewish Law.

/ 1968
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PARADIGM OF PARTICIPATIVITY IN THE CONTEMPORARY MEDIA CONTEXT

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This paper contemplates the paradigm of participativity in the context of contemporary media, since an analysis of the modern media and information-communication context is necessary for acquiring a more wholesome insight into new paradigms of participativity and participative praxis. The papers gives a short overview of key notions, phenomena and processes significant to the context of digital media: convergence and digitalization of the media, multitasking, media as participants in creating messages, expansion of social media. Also, the paper points to certain similarities and differences between participative practices before and after the Internet, to the influence of information-communication technologies on the media, and especially on a possibility as a unique feature of the modern media context: the possibility to use digital technologies and the media to include and engage in the media and technology sphere, in an autonomous way, lead by our own individual interests. The media which enable participation of the users and create possibilities for nurturing and development of participative culture, are donominated in this paper as participatory media. Basic notions of their key characteristics are given, of significance to the subject of this paper.

/ 1968
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DURKHEIM’S USE OF THE TERM CULTURE

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Using the method of content analysis, in our work we offered a concise insight into the use of the term “culture” in the work of Emile Durkheim. Bearing in mind that the heritage of enlightenment can be perceived in Durkheim’s work, but indirectly the traditions of Romanticism as well, we consider the issue of using this term an important one. The specter of meanings associated with the notion of “culture” makes it suitable for use as a kind of indicator. Much like the Rorschach stains, very different meanings can be loaded into it. Findings show that Durkheim did not use the word “culture” very often, considering the volume of his work. He most often connected it with the scientific, intellectual, logical, etc. We paid special attention to his most important works (The Division of Labor in Society, Rules of Sociological Method, Suicide and the Elementary Forms of the Religious Life). Other works are covered by a quantitative analysis of the use of the word “culture” in which we tried to find the most frequent attributes that appear alongside the aforementioned term. The analysis covers most of Durkheim’s opus published during and after his life.

/ 1968
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DIFFERENCE IN SERENITY

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Two stories have been studied using a comparative method: Death in Venice by Thomas Mann and Byron in Sintra by Ivо Andrić. Connection in the poetics of these two authors is found by pointing out similar motifs and processing them. Comparison is achieved at four different levels: the treatment of cities in these stories; the treatment of artists as heroes of narratives; the form of beauty and love which they seek; and the different action of beauty and love for them. The actions of the protagonists provoke general moral issues. At the same time, the theme of love connects and separates these stories. Special attention is devoted to defining differences in the serenity of the narratives.

/ 1968
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IMPACT OF INITIAL EDUCATION ON THE PROFESSIONAL COMPETENECES OF TEACHERS – ARTISTS AND ARTISTS-TEACHERS IN TEACHING ARTS

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Starting from different curriculums of art faculties and teaching colleges, as well as the competences future teachers gain in their study programs, the impact of various factors is analysed, like the impact of initial education on the level of creativity of teaching and divergent creative thinking or artistic/form-related aspects seen in drawings etc. Established facts are then correlated to the competences of teachers/artists (artists who teach art in schools) and teachers/non-artists (teachers of other subjects) for the realization of teaching and educational objectives, tasks and contents of arts as a primary school subject, as well as to the possible consequences on the creative development of pupils. Research was carried out on a sample of three hundred and thirty-two (332) teachers from thirteen (13) Serbian cities. Characteristics of creative, divergent thinking were monitored based on indicators taken from a standardized research instrument called Modified Creative Williams Test (Tunik 2005), while for the monitoring of artistic and form-related aspects of drawings, a special instrument was created. Based on differences which appear in characteristics of the artistic expression and depending on the initial art education i.e. art pedagogy, statistically significant differences were identified between these two populations, pointing to the need to establish new hypothesis, especially by further researching competences of teaching staff in fulfilling primary objectives of Arts as a teaching subject, and especially researching their impact on creative development of primary school pupils as well as initial education and gaining competences for teaching specific subjects like art.