/ 1968
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PRINCIPLES OF MEDIA INFLUENCE

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The concept of media influence involves use of certain types of communication in order to change the habits, behavior or beliefs of the people we are addressing. The development of new technologies and the mass media is much faster than the development of our ability to process the immense amount of information we encounter. Due to our cognitive constraints, the consequence of such accelerated development of the media is that we are less engaged in analyzing the given situation as a whole. The world we live in has become much more complex while our reactions are considerably simpler. The media are the ideal means to achieve the desired impact in such circumstances, and the basic tactic is very simple – it suffices to offer a carefully selected and limited quantity of information. In the modern age, for most people, only that which was published in the media happened (or that which is mediated by the language of the media). The semantic function of the media space has enabled a simple and effective implementation of many media influence techniques. The basic principles of influence help us make a quick decision in given circumstances, without much effort and with the expectation that such a decision will be right for us. Therefore, media influence is a necessary condition for social communication between social elites and citizens, in order to preserve social order and its stability. On the other hand, media influence is constantly misused in order to preserve social power and gain of the privileged minority which has access to the media. Therefore, understanding of the principles of media influence and the way in which they operate is a very important aspect of media literacy and life in contemporary society.

/ 1968
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CONSENSUS OF COMPETENT DISCUSSANTS – MEDIA INTERPRETATION OF THE TRUTH

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Starting from the linguistic-analytical philosophy which emphasizes the truth of “a consensus reached within the circle of competent panelists” in a certain context and a certain period of time, through a sort of a dialogue in which the sender of the message is not only willing to tell the truth but also to disprove the opposed statement, which indicates that there is no absolute but only partial truth, to a media interpretation that emphasizes the veracity of the message, reaching the truth as a standard of profession seems to be yet another unfulfilled ambition. Interpretation of reality which, together with the media spectacle, has fully occupied the leisure time of the media audiences, has expanded its offer of the media-shaped manipulative forms in a global environment. Although it seemed that the media performances which abolished dialogue would falter due to the Internet communication, it turned out that interaction became an illusion of dialogue without the opportunity of reaching the truth. The paper deals with the reexamination of the method of media interpretation of truth in the media-mediated reality of the society of spectacle and the civilization of the image in the entertainment and dream industry

/ 1968
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MEDIA AND INTERPRETATION OF REALITY

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The author analyzes the relationship between the media and interpretation of reality. It is stated that, in contemporary circumstances, priority among mechanisms of the pedagogy of real is given to the mass media. Pedagogy of real is interpreted as a kind of training for understanding different interpretations of the world and social relations as acts of revealing reality. The repositioning of media during this process is connected with development of industrial production.

/ 1968
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HOMELAND AND FOREIGN LAND: CHERRY TREE AND POETRY OF MILOŠ CRNJANSKI

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Miloš Crnjanski became familiar with the poetry of the East in Paris, towards the end of the 1920s, when he gathered material for his anthology of Chinese and Japanese poems. This was the moment when cherry blossom, not cherry fruit, entered his writings. While preparing and editing two collections of translated poetry Antologija kineske lirike (1923) and Pesme starog Japana (1928), he also wrote poems featuring the image of cherry blossom as an important symbolic topos. In his poems Sumatra (1920), Poslanica iz Pariza (1920), Povorka (1921), Serbia (1925) and Stražilovo (1921-1929) cherry trees appear to carry a particular symbolic message, especially the blossom. It creates a light, translucent, ethereal and often even mobile poetic image. This image blends the light and the dark, joy and sorrow, physical and metaphysical, life and death. The cherry tree consumed by fog creates an unusual picture in which everything simmers down in the arms of the nature. It may well be the very heart of the metaphysical, transcendental world of Miloš Crnjanski. The cherry entered his poetics from the East, from the lands he had never visited. At the same time, it created a real bond with his native Srem which he had left years before. It was connected to a real image of a foreign land, like Tuscany, where the poet was but a stranger. We can say that cherry blossom connects three spatial entities: the far-away homeland left behind by the poet; the foreign land where he lives as a stranger; and a distant landscape he had never visited.

/ 1968
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A NETWORKED AVANT-GARDE: SERBIAN, FRENCH AND SPANISH SURREALISTS

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The surrealist avant-garde movement has set the ideological and cultural globalization processes into the very heart of their individual and collective research, relentlesly erasing geopolitical as well as artistic, cultural, linguistic and psychological borders alike. The cooperation and exchange of ideas among French, Spanish and Serbian surrealists was rooted in their personal aquaintances and personalised contacts starting from the 1920s. From 1923 to 1928, a rich network of contacts was built, while the widest and most prolific communication took place from 1929 to 1932, during the years of publishing the almanach Nemoguće–L’impossible (1930) and the magazine Nadrealizam danas i ovde (1931-1932) (Surrealism here and today). Surrealist have fully used the mailing in order to internationalize their movement. In addition to letters and postcards, almost daily they exchanged telegrams and packages that arrived at their resident addresses – those dispersed throughout Europe, but also the ones found within quarters of the same cities. This intranet established along the lines of French/Spanish/Serbian cooperation, functionally removed Serbian surrealists from the geographical and cultural margines into a much wider net of communication that allowed a free flow of creative information, which altogether, whether coming from the centre or margines, offered equal participation in profiling globale contours of the surrealist avant-garde ideology.

/ 1968
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GLOBALIZATION AND TURKISH LITERATURE

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Globalization has become a synonym for a process of worldwide integration that arises from interchange of products, ideas and cultures. It affects every single part of the world and every single culture. There are two main processes qualified as results of globalization. The first one is unification of cultures under the primarily Western or American influence and the second one is affirmation of cultural differences. Throughout history, Turkish literature has been exposed to global cultural processes mainly as a part of the Islamic civilization. Globalization in our times has both positive and negative effects on Turkish literature. Due to the fact that Turkish is not a language spoken worldwide, for a long time Turkish literature has been unavailable to most of the world. However, globalization has increased interests for different and less known literatures and has supported translations and publishing Turkish authors. Globalization involves a certain “culture of freedom” that enables everybody to create their own identity and offer it to the world. Under this influence and thanks to their postmodern style Turkish authors have become more “global” and much more understandable for the rest of the world. Orhan Pamuk is the most global Turkish writer nowadays. But there are also other successful authors who write not only for Turkey but for the world such as Elif Şafak, Nedim Gürsel, Zülfü Livaneli, Serdar Özkan. It is obvious that Turkish literature has finally found its authentic response to the challenges of the globalized world literature.

/ 1968
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(POST)COLONIALISM IN (POST)COMMUNIST DISGUISE: LÁSZLÓ KRASZNAHORKAI’S THIRD JOURNEY TO CHINA

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Travelogues about the Far East are an important part in the work of the contemporary Hungarian writer László Krasznahorkai (1954), despite the fact that they went relatively unnoticed compared to the wide international recognition of his earlier books, especially his first two novels, Satantango (1985) and The Melancholy of Resistance (1989). This article deals with some cultural aspects of Krasznahorkai’s non-fictitious travelogue Destruction and Sorrow Underneath the Sky (2004) in which the author/narrator gives an account on his third journey to China undertaken in May 2002. He goes there with the presumption that China is the only country in the world where a productive symbiosis of the ancient cultural and spiritual heritage on one hand and the (post)modern way of life on the other is still possible. However, as the journey progresses, his disappointment grows bigger and bigger. He realizes that in today’s market and business-oriented China all the important historical sights (even the seemingly most hidden, once inapproachable Buddhist monasteries) have been ruthlessly turned into vulgar tourist-attractions. The vast majority of the interviewed subjects (mostly directors of major national cultural institutions) give irritatingly shallow and dogmatic answers to almost all the questions posed by the narrator. The only genuine and honest answers about their reparable and tragic gap between the traditional values of the ancient Chinese civilization and the contemporary westernized lifestyle based on consumerism and comfort, come from marginalized individuals without any influence on the society or the decision-makers. Stressing the importance of these marginalized voices seems to remain one of the greatest values of Krasznahorkai’s writing, along with the trademark of his earlier books – the extremely long sentences – which give his works a unique and inimitable pulsating rhythm. 

/ 1968
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FRAGMENTS OF GLOBALIZATION AND LITERATURE

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In an attempt to reconsider the current position of the notion of globalization, the paper takes two different directions in observing globalization and its relation to culture and literature, from a literary and then an economic aspect. The often heard postulate that contemporary literature has assumed the features of a commodity taking part in market competition is tested by placing literature in some of the main globalization strategies from the point of view of economists. The inter-relation of literature and globalization determined by syntagms such as globalization of literature, global literature and literature of globalization is a globalization-fragmentary response to a complex issue of their inter-relations, which is by no means exhausted in this paper, just as neither globalization nor literature gives an impression of waning in transformation.

/ 1968
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EDITOR’S NOTE

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/ 1968
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SAINT CYRIL AND METHODIUS – MISSIONARIES AMONG SLAVIC PEOPLES

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Saint Cyril and Saint Methodius, two learned and educated Greek Byzantine brothers from Thessalonica, well experienced in missionary work, received an order by the Byzantine emperor Michael III to go to the Slav country of Great Moravia and spread the Christian faith in their native Slavic language. In this, the Byzantine ruler wanted to please the Moravian ruler Prince Rastislav who had requested such missionaries having probably heard that “all people from Thessalonica speak pure Slavic” and would therefore be fit to spread the word of Christ to his population in an understandable language for them, since his people could speak neither Greek nor Latin. So, the brothers set off on a long and uncertain journey at the end of 863 AD or beginning of 894 AD. They took along a number of their pupils who spoke the Slavic language and also some basic liturgical books translated into Slavic. Their stay in Great Moravia was hard and strenuous – the German priests they found there (Prince Rastislav’s state was under Roman church administration) were full of animosity towards the brothers: they often complained to the Pope about their missionary work, so that Cyril and Methodius even had to go to Rome to defend themselves against accusations of heresy. After many such troubles, Pope Hadrian II finally allowed holding liturgy in Slavic. Cyril soon died (869AD) and was buried in Rome in the Church of St Clement of Rome, while Methodius and his pupils returned to Great Moravia where Methodius became the archbishop of the Moravian diocese. Nevertheless, he and his pupils continued to be relentlessly persecuted by German priests. When Methodius died in 885 AD his pupils were forced to withdraw to the south of Great Moravia where the South Slavic peoples lived. The West Slavic peoples who were under the jurisdiction of the West Roman Church soon abandoned the liturgical practices in Slavic, disregard the use of Slavic alphabet and returned to the use of Latin, as before. The South Slavs, however, accepted the pupils of the two Thessalonica brothers along with the use of the Slavic language in liturgy and the Slavic alphabet, upholding to this day the great work and heritage of Cyril and Methodius.