PRAXEOLOGICAL PROBLEMS IN DEVELOPING THE RELATIONSHIP BETWEEN SCIENCE AND ART

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In considering an extremely complex relationship between science and art, praxeology can provide great assistance. The main task of this science of effective actions, by Kotarbinsky, is to formulate general recommendations, requirements and standards to be followed in every activity that wants to be successful. A work of art is a complex product that has a specific structure, so analysis of its various aspects is required in addition to the methodological basis for both theoretical and empirical research. Further deliberation of history and theory of art will be increasingly subject to external influences which are the product of intense scientific, technical and technological development. Our age is characterized by a wide range of different scientific fields, theories and methods. Hence, our task according to its goal of praxeological study of the relationship between science and art is to use appropriate resources and tools that will be fully functional in solving certain problems.

ON THE PREVAILING COMPREHENSION OF CULTURE IN THE ORGANIZATION THEORY

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Elements of the prevailing comprehension of culture in the organization theory have been presented in the paper. This conception has been explained by the features of the organization theory itself – as a scientific discipline and a profession, and more accurately by its dominantly applied character. Economic globalization and internationalization of business operations had been key motives for the development of this discipline over the last decades. The perception of organization as an open system has introduced the concept of culture in theory and in research, enabling the development of actions and practices for creating more effective and efficient organizations (mainly economic). The nonscientific impetus for the development of this discipline has also been the main reason for somewhat simplified and insufficiently deliberated comprehension and research operationalization of the notion of culture in contemporary organization theory.

THE POSSIBILITY OF INCLUDING THE REMAINING WINDMILLS IN THE TOURIST OFFER OF VOJVODINA

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At the end of the eighteenth and in the early nineteenth century, Dutch, Hungarian, Slovak and Serbian builders built more than 280 windmills in Vojvodina. As the most advanced facilities for grinding grain, windmills used the drive energy of the northern and the northwestern winds and facilitated the lives of the people of that time. Two centuries later, based on a field research carried out in Vojvodina in the period from 2012 to 2014, it was determined that eleven windmills still physically exist. Despite the fact that most of them are protected by law, these important monuments of folk architecture are in very poor condition and have lost their function. The aim of this paper is to point to the examples of good practice and the inclusion of windmills in the tourist offer of European countries as well as the possibility for the revitalization of the remaining windmills in Vojvodina as important cultural and historical monuments and an integral part of the history, culture and heritage of our country – as a chance to enrich the tourist offer of Vojvodina.

CULTURE OF REMEMBRANCE AND YUGOSLAV ROCK AND ROLL

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The paper is dedicated to the culture of remembrance of the Yugoslav rock and roll in Serbia here and now. According to the author, rock and roll represents an important link in the chain of cultural tradition of the Serbian society in the aesthetic and sociological sense. Both rock-n-roll and popular culture in general (including jazz and pop music) have been unjustifiably neglected regardless of the fact that they stand side by side with the folk and rural culture as traditional forms of creation. The current political and cultural elite does not comprehend that the Serbian urban tradition can act as the most important link between Serbia and the globalizing and modernizing world. The culture of remembrance and identities is reserved by this elite primarily for the traditional folklore forms of our cultural heritage, with the reason for this (likely) lying in the understanding that the notion of tradition covers only the elements of rural lifestyle. The author of this paper reflects critically on the cultural policy which is incompatible with the contemporary and modern cultural developments in the world. What is also not understood in Serbia is that identities are not fixed and given once and for all, but that they represent a matter of choice, construction and strategy. The paper is divided into three chapters: “Amarcord in the context of culture” (where culture is defined as a sociological phenomenon), “Yugoslav rock and roll community” (which considers the scope and contribution of Yu rock) and “Politically programmed oblivion”. The oblivion in this case is not incidental and episodic but a conscious and (it seems) a long-term orientation of the political establishment. Rock and roll, and above all that which bears the Yugoslav prefix, does not suit its ideological, absolutistic and populist matrix. In Serbia, little attention (primarily, by the media) is paid to the fact that rock musicians of this society have contributed immensely to the establishment of Yugoslav rock and roll scene, which therefore must not be forgotten. Rock and roll in this region was not a passing fashionable craze but a way of life which formed opinions, beliefs, behaviors, communication and the entire activity of the young generations at that point in time. Cultural traces of that way of life are still present and they deserve to be remembered and used as important for future life and connecting with the rest of the world. These facts are neglected due to the all-encompassing retraditionalization that has taken hold of the present Serbian society whose culture is positioned within the mythical reshaping of reality. This prevents Serbia from becoming a part of the modern world, and the revival of the remembrance of rock and roll would help Serbia to a great extent in the attempt to reach the enviable status that it once enjoyed on the global scale. In short, the culture of remembrance is hidden behind the non-culture of forgetting, with the reasons for this being not only aesthetic in nature but political and ideological as well. Rock and roll is undesirable to the current political establishment for at least two reasons: first, because it is Yugoslav (with a socialist connotation), and second, because it does not originate in Serbia but is “imported” from the West. When one adds the subversiveness, individualistic leanings and the critical intonations of rock and roll, then it is clear that nurturing the culture of its remembrance would be contrary to the values upon which the model of the current Serbian society is based.

STRENGTHENING INTERCULTURAL DIALOGUE BY CROSS-BORDER COOPERATION PROJECTS IN THE FIELD OF CULTURAL TOURISM

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European territory is marked by the roads of intercontinental migrations, redefining borders and the effect of colonialism and multinational companies. Intercultural dialogue at the international level is irreplaceable among neighbours. The subject of this paper is practical policy of intercultural dialogue which is based on the crossborder cooperation in the field of cultural tourism in Serbia, Bulgaria and Romania. These countries were considered due to the fact that the establishment of intercultural dialogue in this part of Europe was realized primarily through projects of cultural tourism within the crossborder cooperation programme (Pre-Accession Assistance Program EU 2007-2013). The study provides an answer to the question how to connect the strategy of cultural development and the development of tourism (cultural tourism) at the local and national level, in order to strengthen the intercultural dialogue.

GOLDEN FORKS – BETWEEN MYTH AND REALITY

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The golden forks allegedly used by the Grand Prince of Serbia, Stefan Nemanja, in the banquet organised to honour Fridrich I Barbarossa, the Holy Roman Emperor, in Niš in 1189, has long ago become a paradigm of a romanticized image of our „better, more glorious and more eminent“ past. These luxurious, pricy pieces of cuttlery – Nemanja’s forks – have become a specific social phenomenon, a symbol of a refined, well-mannered ruler and a metaphore of national excellence. This work aims to analyse the origins, characteristics, use and symbolism of the fork in Serbian Medieval eating culture, using complex gastroheritological method and researching various available sources from artistic imagery, through archeological finds to literary, historical and other referent materials, with a special view of the ruler’s manu and the gastrodiplomacy.

POLITICIZATION OF LITERARY PRODUCTION THROUGH THE PRISM OF THE BELGRADE BOOK FAIR

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Impacts of different models of cultural policies on the development of publishing and literary production in the national culture were reviewed in the paper. The aim of the research was to identify the main models and results of politization of aesthetic works production in the Serbian literature. Research framework was the review of publishing production in the cultural event – Belgrade Book Fair from its establishment in 1956 to this date. The following research hypotheses are proven by appropriate scientific methodologies: 1. It is possible to identify three models of cultural policies in development of publishing, with their specific characteristics in different socio-historical periods of the recent Serbian culture. 2. The model of cultural policy in the period of self-management/socialism did not restrict development of publishing; on the contrary, the dynamics of literary art has been inversely proportional to the political limitation of freedom and rights in this period. 3. The success of democratic and market model of publishing policy does not guarantee the quality and the aesthetic value of literary works.

ART AND POLITICS: PORTRAITS OF TWO PRINCESS FROM THE ARPADOVIĆ DYNASTY

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When the Hungarian Arpad dynasty died out, princesses Mary and Katelina Arpad were the two key figures in medieval Game of Thrones in Hungary. In the politics of the Middle Ages, and today, the media war has played a very important role. In order to manipulate, visual message had, at least equal, if not greater impact than the written or spoken word. The royal portraits are key clues for the study of media wars of the Middle Ages. In addition to Irina Piroska, only two princesses of the first Hungarian royal family Arpad whose portraits are preserved, are Princess Katelina and Mary. Portrait of Princess Mary is preserved in the Anjou Bible from Naples, while the portrait of Princess Katelina in the narthex of the church of St. Achilles in Arilje. The main function of the portrait was to provide an ideal picture of the ruler or his wife. For the ruler, a good reputation played an important role since the earliest times, through the Middle Ages, and so it has remained to this day. Today, the image of the ideal ruler is created by a whole team of people, but a similar situation was also in the Middle Ages. With a picture of the ideal ruler necessarily goes the picture of the ideal wife, whose name and reputation should not be doubted. Something like a picture of Jackie Kennedy and Jovanka Broz in the twentieth century. It is clear that the role of women in the Middle Ages in culture and politics was much more limited compared to men, both in Western Europe and in Byzantium. However the role of women cannot be neglected in a society in which political influence was based on power and reputation of the great noble families, which made their political connections by marriage.

HUMANISTIC IDEAS OF SONJA VUKIĆEVIĆ IN HER CHOREODRAMAS – A SKETCH FOR THE MONOGRAPH

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Sonja Vukićević, an avant-garde and authentic artist of the Serbian choreodrama scene, uses her body not only to express her aesthetics but also her personal and historical truths. She understands, creates and uses the body as a fundamental symbol of humanity and the universe. With the art of dance and movement she shows her own relationship with the society, individual, war, freedom, key events of the epoch, the time she lives in and the time that has passed and left its mark on the current socio-political situation. Through dance she expresses her anti-war attitude and a rebellion against fascism. In her choreographic creations, she embodies the historical-political speech and gives an engaged commentary of the society that creates and establishes political choreodrama as a unique genre.

MEMORY WARS-(AB)USES OF DISSONANT HERITAGE FOR POLITICAL PURPOSES

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While searching for new identities, states created in the territory of former Yugoslav republics have been trying to achieve and ensure their own interpretation of the past, rich with dissonant heritage. This process has been very slow, as the new countries do not have transparent cultural policy, so the problems and issues related to policies of memories are rarely publicly discussed and the establishment of clear, generally accepted national strategies or legislations is not in sight. Whether they preserve the past or interpret it in the forms of monuments or other types of commemorations, these interventions in public spaces have become very important for establishing communication of different social groups and forming of their values. The reason is simple – the connection between collective memory and collective oblivion is causal. Public memory always involves suppressing some other memory and vice versa. Memorialization, as a process, is deeply politicized. It maps the political, cultural, historical and social reality in a given country, as the ruling elites, especially the political ones, have decisive influence on why we should remember someone or something. This means that the society will not remember everything, but mainly those events, period or persons that ruling elites mark as important and they will be remembered in a certain (subjective and arbitrary) way. Even though that does not necessarily mean that ruling elites have negative intentions, deleting of old and construction of new historical narratives is often the case. This paper provides a brief review of current memorialization and commemorative practices and presents recommendations on how to deal with them in the future. What, when and how dissonant heritage should be remembered must not be defined without participatory approach to the problem, which involves public discussion of all stakeholders, starting with the local community, professionals in different subjects, through civil society and all the way up to the decision makers.