CULTURAL ACTIVITIES OF SERBIA IN EUROPE AND WORLD: 2000-2010
/in Studies /by Kcs21blAAThe introductory text comments on the relevance of cultural values and cultural relations in the context of the changed global environment and actors in the international arena. Particularly noteworthy is the importance of content quality and effective narratives in cultural relations. The text continues to emphasize the socio-political aspects that have shaped the cultural development of Serbia at the beginning of the 21st century. The review of basic research results of „Serbian Cultural activities in Europe and worldwide from 2000 to 2010“ form a major part of the text and present a contribution to the wider analysis of international cultural relations of Serbia. The research questions are related to the content of the cultural activities of Serbia, then the ideas, values and narratives, and finally to the principles and priorities of cultural policy in the context of international cultural relations.
SERBIA IN THE EUROPEAN CULTURE ROUTES
/in Studies /by Kcs21blAAThe article consists of two parts. The first section discusses the elements of contextualization of the European cultural routes – the process of European identity and interpretation of European values and heritage, especially the relation between culture and politics of memory, as well as the mediation of history through heritage. The article further analyzes the historical conditions for the formation of cultural patterns in the area of present-day Serbia, within the circle of civilization, marked with contradictions along the East – West lines. It also underlines the ambivalence of value orientation of Serbia and the valorization of imperial heritage of this territory as a point of definition towards the modern European trends, particularly in the Balkans discourse.The second section provides an overview of the „European cultural routes“ and maps of alternative thematic framework for the participation of Serbia in the Council of Europe program, which will take into account the principles of cultural diversity and encompass a broader understanding of cultural heritage, as a way to establish a better understanding of the past and shared future.
BELGRADE IN CONTEMPORARY SERBIAN FILM: URBAN STORIES
/in Screen Culture /by Kcs21blAAПрви корак у анализи простора је подела локализатора према критеријуму: унутра/споља (дом/улица). То је уједно и подела на своје/туђе, безбедно/небезбедно, културно/некултурно. У филмовима чија се радња дешава на Новом Београду, ова се разлика укида: ни у кући, ни на улици, јунаци нису безбедни; угрожени на целој територији, они као пријатељски простор виде део града с друге стране реке. Подела на горњи/доњи ниво има уобичајено значење: под земљом се налазе негативно маркирани простори, на вишим нивоима позитивно обележени локализатори. У филмовима о старом Београду, подела на унутра/споља (своје/туђе) некада се врши према граници четврти: унутар дела града који доживљавају као свој, протагонисти су заштићени. По значењском потенцијалу издвајају се: обала, мостови, кровови. На крововима се окупљају пријатељи из краја и формирају квазипородице. Јунаке анализираних филмова видимо чешће у јавним него у приватним просторима. Из територије која нуди заштиту у потенцијално опасну зону води их жеља за контактом.
ILLITERACY, AN ACCOMPANYING FACTOR IN THE SOCIO-ECONOMIC DEVELOPMENT OF THE REPUBLIC OF SERBIA
/in Studies /by Kcs21blAATHE UNCATCHABLE LANGUAGE
/in Language, Themes /by Kcs21blAAM. RADOVANOVIĆ: SOCIOLINGUISTICS
/in Critiques, Language /by Kcs21blAATHE LIBRARY OF THE SERBIAN HILANDAR-MONASTERY
/in Cultural History, The Living Past /by Kcs21blAAPOSTMODERN THEORY AND FILM
/in Philosophy of Media /by Kcs21blAAThe main aim of this paper is to demonstrate postmodern concepts exemplified in contemporary film. The first part of the work discusses both the notion of intertextuality recognized as the linchpin of defying postmodern film, and the double coding theory. The most important authors belonging to the field of literary criticism and social theories who significantly contributed to understanding of postmodern textuality are also spotlighted in this part of the work. The second part of the work represents analytic frame where entries of postmodern film are given. The third part of the work is actually a debate on when to start with postmodern analysis along with the argument about what postmodern film actually is and which cinematic directions can be regarded as postmodern film precursors.
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