/ 1968

A MODERN MUSEUM – A LIVING MUSEUM

/ 1968

SOMETHING ABOUT THE THEATRE AMATEURISM IN HUNGARY

/ 1968

NEW MEDIA AS A DIRECTION FOR DEVELOPING COMPETENCES OF PRESCHOOL EDUCATORS

A pervasive and growing use of new digital media (primarily the Internet) in all the fields of human activity imposes a need for adequate planning of preschool education, as the first link in education chain that needs to become a foundation and preparation for technological and media literacy in new generations. The application of new information and communication technologies and the media is already obvious in all fields and on all levels of education. This application, however, overcomes pedagogical connotation, so it is not introduced only as a part of curricula that the new generations need to cover in order to become competitive in the future labour market; it also has a non-pedagogical connotation: as non-teaching, logistical and administrative support of labour in educational institutions. These circumstances condition serious changes partly referring to the development of competences of preschool educators (primarily teachers) for the use of new media and technologies. This paper comprehensively presents the circumstances that undoubtedly point to these new requirements set before the educators and points to directions and bases for development of the competences mentioned.

/ 1968

“THE TRAVELING THEATRE ‘ŠOPALOVIĆ'”

/ 1968

TELEVISION – PROMOTION OR DEATH OF THE BOOK

У раду полазим од тога да се књига у ери производне експанзије све више третира као роба и да јој је неопходна промоција која би издвојила појединачни наслов из све већег броја написаних и објављених дела. Телевизија, као један од “најјачих” медија, посредника у афирмацији књиге, указује се, међутим, као медиј који је по својој природи, због доминације слике, у потпуности супротстављен штампаној речи и, као такав, често неподесан за њену промоцију. Због некомпатибилности књиге и телевизије, визуелног и штампаног медија, свака промоција на телевизији има двоструку природу – афирмацију књиге и њеног истовременог потирања. Овим текстом желим да укажем на проблеме који настају у судару два медија и на безизлазан положај у који доспева књига као артефакт, за чији опстанак је телевизијска промоција важна, али и кобна по њену суштину.

/ 1968

ESTHETICAL COMPREHENSIONS OF SVETOZAR MARKOVIĆ

/ 1968

SVETOZAR MARKOVIĆ AS THE MARXIST

/ 1968

BRANKO AND THE FAIRY – THE ROLE OF ART AND VISUAL CULTURE IN POPULARIZATION OF THE CULT OF NATIONAL HERO

Shaping the national identity in the 19th century led to the constitution of the national pantheon where, in addition to the heroes of the past, were also the heroes of a new era. In the formation, upkeep and expansion of the cult of national heroes, the roles of art and visual culture were very important. The heroes were made known all over the nation through artistic representation. Mass audience did not require a representative art and therefore the possibility of serial and industrial duplication of images of national heroes and important historical events were of particular importance in the construction of a private national identity. As the hero of letters, who distinguished himself in fighting for the Serbian language, Branko Radičević became one of the most celebrated Serbian poets. As Radičević died in Vienna, an essential moment in the process of heroization of this poet was the transfer of his body to Stražilovo, where he was buried and his tomb became a place of memory and pilgrimage. A big public ceremony was organized during the transfer of the body and the funeral, accompanied by the inevitable artistic production of his portraits in various media, intended for mass audiences. Among these works, the greatest popularity came with the painting Branko and the Fairy from 1878, which became a patriotic icon and part of the decoration of many houses in Vojvodina. Although it does not belong to representative art in which one can simultaneously monitor the cultivation of the cult of national heroes, Branko and the Fairy and its replicas and variants present in the mass media were part of the art and visual culture of the 19th century nationalism. They were in the service of building national consciousness and creation of national entity that was organized and shaped by a set of images of the glorious past, heroes, people and territory. Visually shaped messages of such works reach general public in order to permanently store the hero in the collective consciousness.