Texts

ON NEW BEGINNING OF SOCIOLOGY OF CULTURE

DIGITALIZATION OF CULTURAL HERITAGE IN THE FUNCTION OF ACHIEVING CULTURAL POLICY GOALS

Digitalization of cultural material can facilitate access to cultural heritage and encourage participation in culture. European countries use this potential differently. Thus, they contribute to the implementation of different purposes of their cultural policies. The European Union encourages countries to organize and finance activities in this domain. In this work, different measures and activities linked to the digitalization of cultural heritage and online accessibility are analyzed in Serbia, Croatia, United Kingdom and France. Activities in each of these countries are described separately. In this context, different activities of National library, Film archive and other cultural institutions in Serbia are analyzed. In addition, plans and activities of the Serbian Ministry of Culture in this domain are presented. Croatian ministry of Culture developed National digitalization program for libraries, archives and museums. Different projects in the United Kingdom implemented by the Department of culture, media and sport are also described. It is also analyzed how the French Ministry of Culture uses different financial and legislative measures and implements program and projects that favorite digitalization of cultural material and online accessibility in culture. In addition, some examples of the cooperation in this domain between public and private organizations are presented. In the conclusion, different results of the mentioned activities are compared and some similarities identified. At the end, on the basis of this parallel analysis, recommendations for digitalization of cultural material are put down for decision-makers in Serbia. 

PERFORMING HIP-HOP – ETHICS, COMPLEX ACTING, AND TUPAC SHAKUR IN JUICE

Hip-hop is inextricably linked with moral reflections as they relate to the often dire state of young men surviving in economically-ravaged communities in America and throughout the world; young men who are often forced to resort to criminal activities and other morally-ambiguous actions for both survival and perseverance. As a culture that is perpetuated globally through media outlets which profit from the images that are trafficked, the ethics of the said media outlets must be measured in an attempt to gauge complicity in the often dangerous performances that hip-hop offers. This study attempts to understand the politics, aesthetics and repercussions of the performative aspects of hip-hop.

As an art form, hip-hop creates socially-charged implications with regards to performance. However, in the complex performance art that is hip-hop, what is real? Rarely is there a boundary between life and art in hip-hop and that is because hip-hop is as much a way of life as it is an art form; the question then becomes, what is the tension between hip-hop art as performing and producing social and ethnic codes, or reflecting pre-existing ones? As the most influential and highest-selling hip-hop artist of all-time, Tupac Shakur presents an important case study for the performative aspect in hip-hop, particularly through his first starring role in a movie: Juice (1992) by Ernest Dickerson.

Hip-hop and the media that channels it have created a most dangerous performance art, and the “juice,” or respect, that one struggles to earn must often be paid for at the expense of lives. A space is created for this dangerous performance art by way of ethical slippage. In order to extricate itself from this dubious situation, hip-hop must resist rampant commercialization while providing a site that is conducive to the uplifting of the downtrodden. It must renew and celebrate its sense of ethical purpose.

PROFANE CULTURE IN MODERN WORLD

THE THIRD CULTURE BEFORE THE THIRD MILLENIUM

MULTI-LEVEL CHARACTER OF NATIONAL CULTURE

RIGHT TO CULTURE

AESTHETIC CULTURE