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BOOK OF ABSTRACTS
Ruth Linn
University of Haifa, Israel
([email protected])
British Jewish Soldiers among Tito's Partisans – Some Questions of Memory and Marginalization
In 1944, a dozen Jewish soldiers were parachuted into Yugoslavia to aid the partisans led by the Communist Josip
Tito, in their fight against the Nazis. Their cover was that they were British officers serving alongside the British
commandos.The assignment was to find a lost British mission that had previously parachuted into the area, but had
gone astray and had not been contacted. The other task of the Jewish soldiers in the Yugoslav team was to improve
radio systems at Tito's Partisans' headquarters and to further train them in communications and encoding. But in
the Israeli collective memory only one story remains dominant: that of the Hungarian-speaking British Jewish
soldiers Hanna Senesh, Yoel Palgi and Peretz Goldstein. On 13 March 1944 all three parachuted into Yugoslavia
they spent three months with Tito's partisans. Their target was Hungary. In the beginning of June 1944, Szenes
crossed the Hungarian border, to be followed later by Palgi and Goldstein. All three were captured. Palgi survived,
Goldstein disappeared in one of the camps, and Szenes was tortured and was eventually executed by firing squad
on 7 November 1944, aged 23. She was lionized in history books in Israel. The others were marginalized. This
marginalization as a form of memory is the topic of this paper.
Andreas Hudelist
Alps-Adria University Klagenfurt/Celovec, Austria
([email protected])
To Process the Past: How to Deal with WW2 70 Years After?
This paper focuses on how memories and educational knowledge about the Second World War and National
Socialism are passed on to today's youth in Carinthia/Kärnten/Koroška (Austria). Moreover it reviews how this
generation, namely the grandchildren of witnesses over the period of National Socialism already influences public
and private remembering. The aim is to understand the role of young people in the common discourse in relation to
older people of the communities of memory.
Today's memory field in Carinthia/Kärnten/Koroška is the result of a run. For several decades past discourses were
characterized by highly polarized positions. Different communities of memory shape the field of remembrance,
while boarders of these communities often represent boarders of ethnic or national groups within the region. While
bigger memory groups were able to share their memory in public sphere and form the region´s cultural memory
(Assmann), others had to remember privately.
Beginning from Austrian's '80s, we will relate the history of WW2 to the individual stories of Carinthians until the
present, whereby theories of social memory and the passing on of memories (to broader public) and
transgenerational transmissions of psychotrauma will widen the topic.
Cansın Caner Keskin
The Institute of Social Sciences at Istanbul Bilgi University, Turkey
([email protected])
Evaluating the Industrial Heritage
This paper explains the constitution of industrial heritage and its content. Prolonging life-span of existing industrial
structures and their remarkable spirit might be possible with understanding of the importance of its structural and
intangible values which can be both at local and international level. After the deindustrialization period many
industrial sites had became useless. Some of them had been extinguished or some of the surviving industrial sites
had been utilized in many different ways. Preserving the heritage with its inherent value is nearly impossible as
time progresses. In order to understand better and evaluate properly, the period of change should be seen as a part
of the process which the heritage passes through, rather than a loss. Within this context, in this article, basic
determinations that have been made by international politics, regarding the preservation and promotion of the
industrial heritage, are going to be explained. Policies that have been determined in order to preserve the industrial
heritage are going to be discussed in detail with some related examples by considering the inherent value of the
industrial heritage.
Nina Habjan
University of Ljubljana, Slovenia
([email protected])
Application of the "Social Identity Theory of Intergroup Behaviour" to authors Kobo Abe and Franz
Kafka
Social Identity Theory of Intergroup Conflict is an approach developed in the second half of the 20th century that
tries to identify an individual's self and its connection to his or her surroundings. This paper focuses on the work by
authors Tajfel and Turner, published in 1979, due to its approach to the 'social' part of one's identity and a unique
way of connecting the latter to the individual's position in different social groups or categories. The two authors
claim, that the development of an individual's identity is closely connected to his or her social category. We applied
the theory to two modern authors, the first one being Czech existentialist author Franz Kafka and the second one
being Japanese author Kobo Abe. Important research has been done about the common themes and motives of the
authors' works. Due to this, I decided to explore their identity and its connection to the world that they lived in.
Franz Kafka was a German-speaking author with Jewish roots, living in Prague; while Kobo Abe spent a part of his
life in Manchukuo, a Japanese state in China during world war II. In this paper we approach their themes and
motives through the theory of intergroup conflict as a way of examining how the environment affected their works.
Nagihan Haliloglu
Fatih Sultan Mehmet University, Istanbul, Turkey
([email protected])
The Mediterranean Spectre in Michel Houellebecq's The Possibility of an Island and Submission
This paper considers the centrality of the Mediterranean as a spectral presence in Michel Houellebecq's
apocalyptical novels "The Possibility of an Island" and "Submission". Houellebecq's novels are about the "end of
European culture as we know it": in one the cataclysm comes as a natural disaster, in the other as political
catastrophe. He imagines a France that has lost its culture and thereby its agency at the collective level. In "The
Possibility of an Island" this loss manifests itself as a post-human landscape with clones, in the other as a France
that has submitted itself to Islam. The Mediterranean is shown to provide both the elements of the "good life" that
the French value, and the threat of another culture that will take over. In "The Possibility of an Island", it also
becomes the symbol of the failure of human kind, as he imagines a totally dried out Mediterranean with only the
spectre of its beauties, holidays and difficult passages haunting the book. Houellebecq's fascination with the
Mediterranean and the life forms it makes possible is present in all his writing and in "Submission", rather than dry
up, the Mediterranean metaphorically overflows and takes over France. The agents of this Mediterranean invasion
are Muslim immigrants from over the water whose political agency proves stronger than that of the "indigenous"
French, which results in a Muslim party coming to power. Thus the Mediterranean remains a spectral topography
in Houellebecq's writing.
Marko Pavlovski
Faculty of Humanities and Social Sciences, University of Zagreb, Croatia
([email protected])
The Publication of Macedonian Poet Kočo Racin's "White Dawns" in Croatia: Historical and Cultural
Context
Kosta Apostolov Solev (1908–1943), known in Macedonian literary history under the pseudonym Kočo Racin, was
a Macedonian poet, writer, essayist and revolutionary, killed as a partisan in the National Liberation War.
Considered to be the most important poet of the Macedonian language in the period between the two world wars,
Kočo Racin was a representative of Macedonian Realism. Racin published his classical work, the poetry book
"White dawns" ("Beli Mugri", Zagreb, 1939) via Dragutin Špuler in Samobor (altough in the imprimatur is written
"Zagreb") and with this Croatia becomes an important space of Macedonian cultural heritage, as also the classical
collection "Bulgarian Folk Songs" ("Bolgarski narodni pesni") by the brothers Konstantin and Dmitrija Miladinov
was printed in Zagreb in 1861. Within the tradition of literature in Croatian translation, after the Second World War
a full range of representative works of various genres were published, of which Kočo Racin's was considered among
the most respected and was incorporated in the post-war education system until the collapse of Socialist Federal
Republic of Yugoslavia. Racin's publication in present-age Croatia, Serbia and Bosnia and Herzegovina shows the
circulation of his works across linguistic and cultural borders, as until 1936 he published in Serbo-Croatian (or
Serbian or Croatian) and after that year in the Macedonian language i.e. he published in both the official and the
non-official language of the Kingdom of Yugoslavia. The decision of writing in a central-Macedonian dialect,
spoken in his native Veles, and dialects of that area will become the basis of the standard Macedonian language,
was probably suggested by Moša Pijade and Otokar Keršovani, two prominent communist intellectuals with whom
Racin served a prison sentence at Srijemska Mitrovica because of revolutionary activity. He continued to publish
also in "Serbo-Croatian"in literary journals in Zagreb, Sarajevo and Belgrade. The publishing of the book in Croatia
was the basis for future scientific interest, which this paper will show.
Ema Lakinska
INALCO- Paris, France
([email protected])
Some Aspects of the Dawn of Macedonian Prosaic Literature
It is known to literary science that the beginnings of prosaic literature are the short stories. These had their peak
throughout the world during the second half of the 19th century. This article shows some aspects of short stories in
general, and Macedonian short stories in particular. It discusses the historical conditions that short stories developed
in and the effects they made on Macedonian prosaic literature. It also offers explanations to some of their functions,
significance and importance to Macedonian literature in general. As an example of Macedonian short stories, we
are going to take the ones written by Marko Cepenkov during the second half of the 1800s.
Daniel Wutti & Lena Zachmann
Alps-Adria University Klagenfurt/Celovec, Austria
([email protected]; [email protected])
Shifting of Narratives in a Transforming Society: The Example of Partisans in the Communicative
Memory of a Region
Although traumata are often still unprocessed by contemporary witnesses of National Socialism, the perceived role
of resistance and partisans against Nazism in Austria´s southern region Kärnten/Koroška/Carinthia is slowly shifting
from highly polarised and negative viewpoints to more accepted ones. It is a new generation of today's youth in the
region, who is more and more often not taking over gridlocked narratives, but evokes inclusive discourses. During
and also decades after the Second World War, borders between ethnical groups in Carinthia were strongly shaped,
with the effect that even today, young people with Slovenian roots often remember in an emotional and personal
way by cause of being faced with family memory (as victims) of National Socialism all over their life. Most of the
other young (German speaking) Carinthians usually get into contact with remembrance of victims and partisans in
Austria to a later age and have a greater distance to WW2. However, Carinthia´s ethnical borders as well as old
concepts of majorities/minorities are fading and there is a recognizable tendency that young people tend to relate
WW2 and NS with contemporary topics such as refugees and asylum and contemporary antifascism – addressing
new inequalities.
Dubravka Radusinović
Faculty of Drama Arts, Belgrade, Serbia
([email protected])
History Could Heal
History is the story we tell ourselves as Khalil Gibran Muhamad defined it, or the story we tell ourselves about how
the past explains our present and how the way the story is told is shaped by contemporary needs, as Aurora Levnis
Morales nicely put it. Likewise it could be stated that we become the stories we tell ourselves. Thus, history has a
role in the construction of our identity. Given the importance of the story for us, could it be a different story than
the one we are told in mainstream media and thought in schools? The one that empowers us instead of enslaving
us? This paper deals with the ways history can be interp reted and the influences different interpretations have on
society and individuals. This is explored through the choices made in Western culture (in philosophy, pedagogy,
psychology, media and economy) and through the analysis of the play The Hospital at the time of the revolution by
Caryl Churchill and the text "Writing as transgression" by Naomi Wallas. The first shows how "poisonous
pedagogy cripples and dehumanizes the child". Furthermore, the play makes it clear how society’s dominant view
influences its individuals. In the analysis of this play, Michel Foucault's opinions are quoted. Works and thoughts
of the following authors are also mentioned: Aurora Levis Morales, Paul Freire, etc. However,Wallas's text is
explored slightly differently, as a potential tutorial for writers and possible way to overcome what is abhorrent in a
society through critical reading and writing. Finally, it is hypothesized that maybe the forgotten female principle in
all of us, (is to go on from?) and that this forgotten voice could be found mostly in arts and humanities. This
hypothesis is supported by the works of Marija Gimbutas, Ursula le Guin and Judy Chicago.
Taner Kizilhan
Anadolu University Communication Sciences Faculty, Turkey
([email protected])
Evaluating the Digital Museums in Turkey via Content Analysis
The Internet technology has been increasingly transforming the ways of storing the knowledge. One of the areas
where this transformation occurred is the museology. Museums were used as a conventional information storage
area until the information era. With the information era, museums has become more of an information source than
just being a warehouse. After that, due to museum's interaction with internet at the beginning of the 90s "virtual
museum", as a new kind, was born. Although there has been various discussions about virtual museums, their
numbers has been increasing dramatically due to their advantages. The main question is: to what extent the
applications of this new type are successful. Sometimes unusable examples for the users may occur, because there
are no certain designing and implementation rules that are expressed clearly, and most of the time these processes
are left to the designer's discretion. Therefore, in this paper, some basic rules will be determined by the basis of the
definitions made by people who are competent in the field. Then the virtual museums on the official website of the
T.R. Ministry of Culture will be examined by the content analysis form that is created on the basis of these basic
rules. By that, it is aimed to examine and understand how successful the applications of virtual museums in Turkey
are.
Louisa Soellner
LMU Munich, Germany
([email protected])
Modernism's Stepchildren: Rethinking Literary Genealogies in "Tattoo Texts"
My paper investigates a small number of American texts from the 1950s all of which share a fascination for cultural
practices of tattooing. The heterogeneous body of primary texts I explore encompasses works by Sylvia Plath,
Flannery O'Connor, Ray Bradbury, Tennessee Williams, and Samuel Stewart (literary scholar, writer, and tattoo
artist, perhaps best known for his friendship with Gertrude Stein and Alice B. Toklas). I seek to establish the
following arguments: 1) Literary texts with excessive references to tattooing re-negotiate the authors' relationships
to social and aesthetic norms; 2) They particularly re-think a self-enclosed modernist aesthetic and strive to replace
it with a new appreciation for the "open" and scarred body as an alternative surface of expression and inscription;
3) Some of these texts also seek to create a sense of affiliation to modernist traditions and aspire to become part of
the exclusive circle or "family" of high modernist literature. I wish to elaborate on the latter idea with respect to
Samuel Stewart and his many references to the oeuvre of Gertrude Stein. The aim of my paper is to describe
American literature of the1950s as a terrain of crisis that demands a new understanding of the relationship between
literature/art and the body and yet also clings to modernist ideals.
Anastasia Usacheva
Institute of Slavic Studies, Russian Academy of Sciences
([email protected])
Women in the Romanian Literary Space (M. Petreu, F. Ilis)
Women-writers did not have a privileged place in the literary space of Romania. In the books on the History of the
Romanian literature (authors are always men: E. Lovinescu, 1937; J. Calinescu, 1941; N. Manolescu, 2008) few
women's names are mentioned, which means that in Romania writing for a long time was associated with male
gender. Voices of women – writers, artists, journalists and literary critics – began to be heard only in the XX century.
But they were considered marginal figures and were placed on the periphery of the literature and women's works
were perceived negatively, the common belief was that they cannot create anything trulyvalulable. Nowadays the
situation has changed. Modern literature, seeking to re-open the authors neglected under communism and rewrite
some chapters in the history of the Romanian literature, shows a tendency to remember women-writers, giving them
a place in the cultural space. Search of their own identity and autonomy has determined the success of the works
written by women. For example, the novel "At home, on the plain of Armageddon" by Marta Petreu was called the
"discovery" in 2011 and received the award for best book. This book could be the subject of feminist research: it is
written by and about women (peasant from Transylvania), shows her life and relationship with her people, religion,
history, etc. It also was an international success being translated and published in France. Another important
example – Florina Ilis, the author of several novels translated into French, Spanish, Hungarian, etc. languages.
Vanya Suharova
Sofia University, Bulgaria
([email protected])
Civic Journalism – Tool for Promoting Culture
Social networks and especially – groups therein, hashtags and tags became a surprising PR for culture. Positive
comments, recommendations in special groups and tags from shows and events are quite impressive and suggestive
of people to follow their friends' example. And it is much more powerful than the ordinary advertising. In online
networks we are prone to form consumer societies around our favorite places. If one wants to attract a community
around them, they should offer something so original and of such quality that could motivate others to react and
include it to their art work, said Tom Glocer, boss of Routers Agency. It naturally leads to negative processes as
well. Culture, fallen into a mass environment is forced to become a mass culture. In their book "Dialectic of
Enlightenment" Max Horkheimer and Theodor W. Adorno said that merger of the culture and entertainment leads
to decomposition of culture. Taste of the mass public is affected largely by traditional media and is reflected in
social network and media publications. Blogs are the new corrective for fair content, at least according to bloggers
and users. And if until recently researchers such as Umberto Eco asked "What media does with audience" and "What
audience does with media" to reflect the changed meaning of media audience, nowadays this demarcation does not
exist. Media is a message in the same way that audience is (a reference to Marshall McLuhan).
Ivaylo Yoshkov
Sofia University St. Kliment Ohridski, Bulgaria
([email protected])
Culture 2.0 – Bulgarian Citizen Journalism between Traditions and Modernity
Ever since its emergence the Social Web (Web 2.0) has had a huge impact on mass communication. For the first
time the audience was enabled not only to personalize the received content, but also to generate and share its own
articles, videos, etc. This lead to important changes in the Agenda setting theory – widely accepted as one of the
classical theories of mass communication. The active audience does not necessarily follow the agenda, set by mass
media. Web 2.0 allows the audience to set its own agenda, different or even contradicting the agenda of traditional
means of mass communication. The present paper analyses the cultural agenda set by Bulgarian citizen journalism
through social media. In the last couple of years citizens were divided on several occasions between cultural
traditions and modernity. For example changes in educational programs concerning important issues of Bulgarian
history as well as works of classical Bulgarian writers caused many discussions and in spite of the explanations of
the minister of education, that school education needs modernization, most people did not accept them. As a result
of many debates and articles on the web the changes were postponed. The current paper will analyse other similar
cases of citizen journalism redefining culture according to its own agenda, as well as some cultural changes caused
by the nature of the Web 2.0 communication.
Sevil Bal
Baskent University Communication Faculty, Turkey
([email protected])
Public Relations at the Academy: A Study on the Doctoral Thesis Written in Turkey
In Turkey, the Academic Public Relations literature, which has begun to show improvements, after 1920's, has
entered into a rapid institutionalization process in the period after 1960. The doctoral theses written in the area are
important sources that show the institutionalization process, past trends and new orientations of the academic
discipline of public relations. Also the issues discussed in the literature and the outstanding methodological trends
constitute a reference source for the future studies by handling an academic problem and making proposals – which
will contribute to the field. Despite that, the studies thatare handling the doctoral theses in the Public Relations field
via this kind of perspective are very limited. In this study this kind of frame is referenced with the aim of creating
awareness on this matter. Therefore it offers a descriptive study, about the academic culture trends, on doctoral
theses' content and formal characteristics.
Mishel Pavlovski & Loreta Georgievska-Jakovleva
Institute of Macedonian Literature, UKIM, Skopje, Macedonia
([email protected]; [email protected])
Academia vs Forums: Official and Unofficial Knowledge – The "Case" of Cyril and Methodius
The digital (virtual) space is the place (some would go as far as to call it the most democratic of all spaces) where
ideas and opinions class, where new meanings are being created, where new values and beliefs are being forged. At
the same time, digital space is the site where meaning is shaped and defined. This paper aims at exploring possible
changes in meaning when examining Cyril and Methodius via digital space. Hence, said transformations practically
help forge new meanings about the past. By situating Cyril and Methodius within the context of the virtual media
space, this paper aims at examining how a culture’s heritage and its representation within digital time stand in direct
correlation with the needs of contemporary politics and dominant discourses. Thus, the representations of Cyril and
Methodius forged within the digital space breathe new meanings into old legacies, i.e., they de/construct and
re/construct it. The research shows that said process though mostly chaotic and partial is always compatible with
powerful (even if oftentimes contradictory) discourses. Along those lines, if juxtaposing the meaning of a culture’s
heritage with said culture’s contemporality, we can in fact ascertain its function, meaning, and influence on
contemporary cultural processes. Or, to paraphrase Simon During, to examine the ways in which past traces and
representations enter contemporary (popular) culture.
Edin Jašarović
Faculty of Dramatic Arts – Cetinje, Montenegro
([email protected])
Introducing New Methodological Tools for Reinvestigating Culture
By reinvestigating Culture it is interesting to think about the two possible new methodological approaches and tools
for researching and better understandings of its core meanings, in times to come. First one could be widely seen
throughout different interpretations of cultural studies and practical policies, defining itself as a "cultural nexus".
Cultural nexus usually represent the theorist nodes and practical junctions of different interpretation of cultural
practice widely considered from different culturalist angles and cognitive traditions. Depending which paradigmatic
tendency raise most resonant questions into the fields of arts, humanities and social science, "cultural nexus",
accordingly, reflect different socio-cultural concepts and processes. Reasoning second, possible new
methodological tool for reinvestigating culture, it is interesting to think about "cultural flux". Namely, cultural flux
could be widely imagined as a platform from which dominant "epoch narratives" such as a neoliberalism paradigm
or information society, or even new cognitive structuralism, refract into the new meaning and particles of
understandings. That means that "cultural flux" could be seen as a flow or stream of dominant cultural
interpretations coming through as a possible new comprehension depending on the lens used. So the main reason
to introduce these two new methodological tools and approaches, is to observe previous and current tendencies in
arts, humanities and social sciences, as well as to try to predict forthcoming new tendencies in culture.
Tihomira Trifonova
Centre Immigration and Integration, Sofia University, Bulgaria
([email protected])
Language as Cultural Capital: What Goes to the Next Generation?
This paper explores the meaning of language as cultural capital. It digs into the experience of proper use of language
as cultural capital and the impact that the abuse of language by the establishment has on its quality as capital. The
core hypothesis builds on surveys proving the degradation of the use of national language in the national media by
high-positioned representatives like politicians, members of parliament, government officials and even analysts. It
has been the subject of severe criticism in the past decade in Bulgaria by academics, but also ordinary citizens.
These findings are backed up with observations of people's anxieties, expressed in various media. Primary research
in the form of semi-structured interviews looks at the attitude of people to this phenomenon and the essence of their
concerns in an attempt to discover the significance and value that it has for them. Theoretically, this interpretation
focuses on the long-term consequences of this trend for the cumulative cultural capital in the country on the one
hand, and for the role of good use of language as a component of individual cultural capital, and in particular the
perspectives of possible capitalization of linguistic competence. As any given cultural competence derives a scarcity
value from its position in the distribution of cultural capital and yields profit of distinction for its owner, the research
question is what will be the likely impact of this negative trend in a long-term perspective.
Irina Ignatova & Irina Belogortseva
Belgorod State University of Arts and Culture, Russia
([email protected]; [email protected])
University as an Institution of Scientific and Innovative Knowledge Production in Neoindustrial
Educational and Cultural Systems
The article presents the results of the research of some problematic points in modern university development
(primarily, research and innovative universities) connected with favorable conditions identifying and institutional
bases establishments for new scientific knowledge production and its transition into educational process and
regional cultural space looking forward to future international cultural communication. The authors point out the
socio-cultural conflict and breaks generated by the innovative dynamics as a power core of industrial civilization,
which are constantly produced not only at the vertical level of sociocultural systems' hierarchies, but also in the
anthropological horizon of everyday human life. The authors also suggests the ways to resolve the conflict. The
authors give arguments to their point of view that the management of new innovative enterprises and organizations,
including educational institutes, should be based on both vertical and horizontal structures that means systemsynergetic context, mobile hierarchy, and categorization of innovative and creative paradigms of the modern world.
Higher education is considered on the example of Belgorod region, Russia, as part of "soft power" formation in the
global and local sense. Education is shown as an open system, actively cooperated with other social institutions,
authorities, potentially creating opportunities for active cooperation of regional authorities and universities. The
synergistic effect of such interaction may affect not only the political, but cultural, economic and social spheres.
Mustafa Eren Arın
Samsun Ondokuz Mayıs State Conservatory, Turkey
([email protected])
Tracing the Path for an Individual Expression
Institutionalisation of styles in contemporary art music nowadays is much more evident than ever. The innovative
qualities found in the diverse textures of 70's and 80's (ranging from primitive repetition to default catastrophe) are
now under the protection of academic institutions from opposing camps. On the other hand, any kind of institutional
control over the process of art production naturally rationalize the output for the sake of predictability and
reproducibility. So the dilemma arises here as the teaching/ reproduction of the musical styles of recent past in order
to maintain a protection shield over them, but at the same time to compromise on the representation of personal
idiom. I'm one of the composers who praise the desire and struggle of expressing individuality, to being one of the
successful followers of any accepted style. In that sense, cultural representation in music is one of the keys for
acquiring a distinct way of expression. In my case, it is the use of makamic material or gestures derived (or stylised)
from either Anatolian folk or Turkish traditional music is the way for creating representation. Technically I create
space for representation by two ways: one is using micro tonality and gestural qualities of Makam tradition as the
subjects of music. The other is leaving enough time and space (texturally) for the representation of cultural idioms
existing in a quasi-meditative mood. The overall result is taksim like (improvisation in makamic style) gestures
surrounded by atmospheric emptiness.
Krešimir Krolo, Sven Marcelić & Željka Tonković
Sociology Department, University of Zadar, Croatia
([email protected]; [email protected]; [email protected])
Between Turbo Folk, Opera and Rock'n'Roll – Cultural Consumption and Cultural Capital of Urban
Youth in Adriatic Region
This presentation explores the survey data collected in the period from November 2015 to February 2016 as a part
of the research project of cultural needs and intergenerational transmission of cultural capital of youth in Adriatic
region. Data was collected from the representative sample from third and fourth grade high school students in six
larger cities on the Adriatic coast. (Pula, Rijeka, Zadar, Šibenik, Split and Dubrovnik). Main goal of the survey was
to establish the patterns of cultural consumption and cultural needs as well as indicators of potentially developing
trends amongst Croatian youth regarding classical and contemporary art forms. In order to properly contextualize
the data, theoretical framework was developed around the concepts of homology and cultural capital of Pierre
Bourdieu, theories of individualization and cultural consumption (Beck, Lash) as well as theories of omnivores and
univores (Chan & Goldthrope). Special emphasis was on relation between intergenerational transmission of cultural
capital and cultural needs which included the measures of parental cultural consumption. Besides theories of cultural
consumption and cultural capital, concepts and different measures of value orientations and identities were used to
establish a connection between patterns of consumption and local socio-cultural context in relation to issues facing
societies in multiple transitions. Data was analyzed by using multivariate statistical (factor, cluster and linear
regression) analysis. Analyzed data suggests existence of several specific groups of cultural consumption with
strong influence of parental cultural capital, as well as influence of value orientations and identities. It is concluded
that patterns of cultural consumption and cultural tastes are more linked with Bourdieu's theory of homology, but
also with specific local socio-cultural processes that played relevant role in establishing before mentioned patterns.
Suhail Dahdal
American University of Sharjah, UAE
([email protected])
Using Collaborative Gaming to Engage Arab Youth in Cultural Memes
This paper examines the use of cultural memes as a tool for engaging Arab youth in Arabic culture. The paper
proposes using cultural memes as a method of cultural transmission among youth. Furthermore, I propose that
engagement in the creation, publishing and promotion of memes can be accomplished if the youth involved in the
early stages of the creation process can be trained so that they become highly skilled at the task and at the same
time are presented with challenges that match their skills, and have clear goals and measurable outcomes. The paper
draws on flow theory's premise that a state of total absorption, "flow", can be attained in a game-like environment
were the actors are highly skilled and the challenge matches their skill set. By combining the viral properties of
memes and their ability to transmit cultural content with the strength of engagement that a state of flow can create,
I aim to provide the basis for a framework solution to engage youth in cultural content by creating memes in a
collaborative game-like environment that requires: 1) up-skilling the youth involved in the creation of the memes;
2) consulting with local community elders and leaders in the initial storytelling; and 3) designing a game-like
environment as a multi-phased competition that requires using the skills attained to perform difficult challenges and
that promises rewards in the context of cultural stature and local and regional recognition.
Marija Dimitrovska
Ss. Cyril and Methodius University in Skopje, Macedonia
([email protected])
Race and American Cinema: The Two Cases of The Birth of a Nation
Since its beginnings, American cinema bears a highly ambiguous relationship to the problem of race. The
importance of this issue has decades-long history in cultural studies and film studies, based on the stance
that the socio-historical discourse of race as a socio-historical formation, as groups of individuals which
share past and continuing experiences, from group solidarity, to forms of oppression and privilege, has
been sealed on the silver screen. The focus of this paper is the examination of this relationship through
the study of one of the most notorious example of racism in early American cinema, The Birth of a Nation
(1915), and the eponymous work by Nate Parker a century later. The Birth of a Nation (1915), an epic of
White supremacy, and a landmark of the Hollywood film industry provided the basis for a century-long
disputes in the academic community regarding its aesthetic qualities versus its blatant racism. However,
the recent response to the legacy of this film comes in a cinematic form. Nate Parker’s The Birth of a
Nation (2016) represents an attempt to rewrite the history and the legacy of the film title, and provide an
African-American narrative of the race in the period of slavery. The paper aims to re-contextualize the
works in the context of Frantz Fanon’s thesis of liberation through violence.
Justyna Pierzynska
Faculty of Arts, University of Helsinki, Finland
([email protected])
Popular Geopolitics: Caucasus in Serbian and Polish Popular Discourse
This paper deals with the ideological and discursive framing of the Caucasus as a geopolitical region in Serbian and
Polish media and political discourse. I use the perspective of "popular geopolitics" to illuminate how people make
sense of this region and incorporate it into their own national narratives. Both in Poland and in Serbia, the Caucasus
is discursively used to legitimate ideological and political moves. It is neutralized as an object of expert knowledge
and exoticized as a remote example of Russia's or international geopolitical games. Discourses on the Caucasus in
both countries are multi-layered and complex, sometimes conflicting. I examine them using the sociology of
knowledge approach to discourse (SKAD), which draws on Berger's and Luckmann's tradition of inquiry into the
structures of commonsensical knowledge that underlies social practices. Geopolitics, especially in form of RussiaEU and Russia-rest of the "civilized" world opposition is constantly present within the discourse. Critical
geopolitics, a framework of inquiry developed by Ó Tuathail, is useful in deconstructing the discursive claims about
the Caucasus and the region's concrete usage in national and foreign policy narratives in Poland and Serbia.
Tanja Strugar
League of Experts (LEX) Consulting, Serbia; Independent Researcher
([email protected])
Prioritizing Serbian Cuisine as Cultural Heritage and as a Tool in Tourism, Diplomacy, and National
Identity
Serbia has become an increasingly popular tourist destination due to its festivals, landscape, and nightlife, but an
element of Serbian culture that has inspired many tourists to return is its gastronomic identity. Serbian cuisine plays
an integral role in the daily life of Serbs, going beyond its nutritional value. It establishes a sense of community
among locals and foreigners alike, inspiring dialogue and a sense of unity. Serbian cuisine also embodies its long
and fascinating history: a combination of not only local dishes but also Ottoman, Austro-Hungarian and
Mediterranean cuisine, creating a melting pot of cultural identity experienced through every bite. In this paper I will
discuss the importance of acknowledging Serbian gastronomy as representative of Serbian and Balkan heritage, as
well as analyse its effectiveness as a tool in tourism, diplomacy, and national identity. I intend on achieving this
through etymological research of various dishes considered part of Serbian gastronomy, an analysis of efforts made
by other countries to promote their gastronomic identity, and determine which measures can be taken to efficiently
promote and preserve Serbian gastronomic heritage in a society that is being perpetually modernized. I ultimately
hope to raise awareness of the importance of Serbian gastronomy not only from a cultural perspective, but also in
the context of the green revolution, diplomatic relations, and Serbia's responsibility to preserve its national identity
and promote the nation abroad.
Svetlana Bunina
The Institute of Literature and Translation, Bulgaria
([email protected])
Russian Emigration's Newest Wave: Sociocultural Prospects
The paradoxical nature of the 2010's Russian emigration attracts attention: after a period of distinct openness of the
Russian state when citizens acquired the right to live and work abroad there is a return to Soviet era realities. Today's
mass departure of intellectual dissidents is evident, resulting as a toughening of political climate – social atavism.
The XX century mass phenomenon of Russian emigration was generated by Soviet totalitarianism. Literature
allocates emigration in three main waves (post-revolutionary; Second World War; emigration during 1970-80's),
each corresponding to stages of the totalitarian state. However, a fourth wave is also defined. A mass economic
emigration of the 1990's (post USSR) when the possibilities to realize personal potential by freely moving in and
out of Russia materialized. The last decade rejected the policy of openness and many in the political and cultural
elite went abroad. Here is the second paradox: despite high technology and new forms of media, influence of this
wave of emigration on Russian society is minimal. The Internet didn't prevent isolationism in modern Russia, but
rather facilitated it. Russian writers, philosophers and scientists, who are abroad, have to combat a Russian
mythological construct which has no basis in XXI century reality. What strategy do the Russian intellectuals outside
of Russia need to deconstruct these myths, and what intellectual product can be generated by them? This research
will be devoted to assessing opportunities and the prospects for cultural influence of a new wave of the Russian
emigration.
Irena Rodriguez Točíková
Department of Art Education, Faculty of Education, Masaryk University, Brno, Czech Republic
([email protected])
Translation of Images
This project opens up a discussion about the complex relationship between words and images. In this project,
students from Masaryk University in Brno, Czech Republic, cooperated with students from Hong Kong Design
Institute in Hong Kong, China. First of all, everybody picked their own artwork and described it in English, and
then they sent their descriptions to students from the opposite university. Students from the other university created
remakes of the original artworks based on these descriptions. Then everyone could compare the original, its
description, and the remake that was made by a partner from the opposite side of world. It showed cultural
differences. Also, English was not a native language for any of the participants thus we could see also semantic
differences. The whole project is presented in an online art gallery for broader public’s consideration.
Jela Sabljić Vujica
Filozofski Fakultet Mostar, Bosna i Hercegovina
([email protected])
Subverzija, inverzija, perverzija – tri esejističke strategije oblikovanja angažiranog subjekta
Postmoderna interpretacija stvarnosti kao konstrukta trajno posredovanog diskursom ima dvostruku implikaciju. S
jedne strane, diskurs ne samo da predstavlja stvarnost, već je i pretpostavlja: postaje njen nadomjestak (Baudrillard).
Interpretacija stvarnosti na ovoj razini implicira njenu isključivo znakovnu konfiguraciju. S druge strane,
samodostatnost diskursa pretpostavlja njegovu nedovršenost: on je začet u čistoći razlike (Derrida) i stoga osuđen
na neautentično ponavljanje. Nemogućnost cjelovitog oblikovanja stvarnosti na ovoj razini implicira nemogućnost
sveobuhvatne kritike stvarnosti. U ovom će se radu pokušati ukazati na one subjektivne iskaze koji se posebnim,
lokalnim zahvatima upliću u već proizvedenu stvarnost i na taj način kritički provociraju načelnu metajezičnost
postmodernih implikacija. Esejistički fragmenti Benjamina ("Jednosmjerna ulica"), Adorna ("Minima Moralia") i
Spicera ("Tri marksistička eseja"), svaki na svoj način, postupcima subverzije, inverzije i perverzije, uspijevaju
sačuvati diskurzivnu praksu od obaveze neautentičnog ponavljanja, povezujući tako puteve stvarne invencije s
putevima moguće emancipacije.
Dubravka Radusinović
Fakultet dramskih umetnosti, Univerzitet u Beogradu, Srbija
([email protected])
U dodiru sa realnim dolazi do preobražaja subjekta
Reč metanoja potice od dve grčke reči i to meta u znacenju "iza" ili "posle" kao i noeo u značenju "intelekta",
"razumevanja", "percepcije", itd. U retorici se metanoja često navodi kao promena mišljenja, a u teologiji se
povezuje s pokajanjem. Fenomen metanoje nije razmatran samo u teologiji već i u psihologiji (od strane Junga). Po
Jungu, metanoja je spontano samolečenje duše ili uspostava potrebnog balansa kroz mentalnu krizu. U radu su
analizirane scene preumljenja u filmovima"Ovo je mora da je to mesto" (This Must Be the Place, 2011), "Čudnije
od fikcije" (Stranger Than Fiction, 2006) i "Stoun" (Stone, 2010) i sagledane kroz koncepte Žaka Lakana, onako
kako ih izlaže Slavoj Žižek, sa naročitim akcentom na transformativni potencijal susreta sa Realnim, kao i
paralaktičkom pomeranju (očigledna promena u objektu izazvana promenom posmatračke pozicije, koja
omogućava da ga vidite u drugom svetlu).Kroz susret sa Realnim u ovim filmovima, koji je, kako Žižek navodi,
uvek traumatski, likovi grade, na mesto urušenog, novi simbolički poredak, odnosno dolazi do paralaktičkog
pomeranja. U završnom delu rada sagledan je i ideoloski aspekt i potencijal preumljenja u ideološkom sistemu ili,
kako bi Žizek rekao: "Potrebno je otvoriti mogućnost za pogled kakav nije bio uračunat u sistem".
Jovana Karaulić
Fakultet dramskih umetnosti, Univerzitet u Beogradu, Srbija
([email protected])
Medijska reprezentacija političkih kulturalnih izvedbi
Savremene političke prakse sa stanovišta medija kreiraju komunikacione strategije koje obezbeđuju prekid
uobičajene rutine pojavljivanja u političkoj areni uz pomoć kulturalnih izvedbi koje utiču na medijsku pokrivenost,
povećanu vidljivost i značaj političke poruke. Mediji u okvirima tog diskursa postaju centralno mesto političkih
dešavnja, pa nije neobična pojava"transformacije političkog jezika u jezik spektakla". Na taj način, dirskurs
medijskog izveštavnja upotrebom kulturalnih izvedbi, kao društvenih događaja koji koriste scenske alate u
sprovođenju ne-estetskih interesa, podelom na učesnike i gledaoce, ograničenim vremenskim okvirom, kao i
postavljenim scenariom dešavanja, može oblikovati unapred predviđen i kontrolisan uticaj na posmatrača. Razvoj
medijske uloge u političkom diskursu dovodi do pitanja – na koji način medijska reprezentacija političkih
inscenacija utiče na razvoj populističkog raspoloženja u zajednici? Analizom izveštavanja štampanih medija na
primeru Sednice Vlade RS u basenu Kolubara iz aprila 2015. godine, tekst ispituje pretpostavku prema kojoj
(populističke) političke kulturalne izvedbe utemeljenje pronalaze u njihovoj medijskoj reprezentaciji u okvirima
istog raspoloženja.
Vasilija Antonijević
Fakultet dramskih umetnosti, Univerzitet u Beogradu, Srbija
([email protected])
Heda Gabler je bila trudna – iščitavanje roda u Ibzenovim i Strindbergovim dramama kao paralela
razvoja feminizma
Distinkcija između roda i pola kao ključan problem u savremenom društvu u kome se identitet bazira na nasleđenoj
stereotipizaciji rodne pripadnosti, postavljena je u delima dramskih pisaca Henrika Ibzena i Augusta Strindberga.
Retroaktivna analiza drama pokazuje naznaku razvoja feminističkih talasa (koja će kasnije dobiti istorijsku
potvrdu), položaj žene u društvu je definisan karakterizacijom likova, ali i pretpostavljenom recepcijom publike
odnosno autocenzurom pisca. Kreiranjem neuobičajenih ženskih likova, oba pisca su doprinela signifikaciji
karaktera, bilo da su u Lutkinoj kući, devojačkog prezimena Gabler ili samo prate korake Julijine majke. One postaju
ikone određenog perioda u istoriji pisane reči i kroz dublju analizu u kontekstu savremene sociološke klime mogu
pobediti mizoginiju.
Jani Wilson
Auckland University of Technology, Auckland, New Zealand
([email protected])
My Silent Māori Audience
Very little is written about Māori (indigenous New Zealanders) film audiences, and consequently as part of my PhD
research, I addressed this lack of scholarship by organising groups of Māori – my own family (whānau) – to view
films featuring Māori characters.Firstly, not to assume what Māori thought about the films; secondly, to encourage
Māori film students to conduct and lead specific audience studies research designed through their distinct family
methodologies; and, thirdly to challenge the status quo in New Zealand film studies by centralising Māori. However,
the silence that followed a group's viewing of "The Seekers" (1954, dir. Ken Annakin) – which comprises longheld xenophobic/desirous imaginings about Pacific people – moved the audience thread beyond my intended scope,
as scholarship about silent responses to film too, are exceptionally scarce, possibly because silent responses may
have been considered unimpressive materials. This paper explores the audience's refusal to verbalise their opinions
about "The Seekers" as a silent, yet deeply political response to the film. By changing the lens through which the
film, and indeed other films are viewed, to tikanga Māori (customary Māori ways, lore) and mātauranga Māori
(traditional Māori knowledge, understanding), New Zealand film history must adjust to include Māori, and
ultimately invites an entire overhaul and reinvestigation of New Zealand film studies.
Sandor Klapcsik & Monika Bartoňová
Technical University of Liberec, Czech Republic
([email protected]; [email protected])
Gang Members and the Image of "The New Warrior" in Recent New Zealand Films
This paper analyzes filmic representations of gang members and violent criminals, which are in contrast to the
image of "the new warrior," in recent New Zealand productions. During the colonial times of New Zealand, from
the Pakeha perspective the martial character of the Maori and Polynesians was, on the one hand, portrayed as savage,
immoral, degenerate and sinful, which helped, as Bhabha says, "to justify conquest and to establish systems of
administration and instruction". On the other hand, the Maori warrior was also often "endowed with positive
qualities such as 'physical prowess','nobleness' and 'a warrior spirit'" (Hokowhitu). After the Second World War the
country received its full independence, urbanization started, and a large number of Maori migrated to the cities.
Consequently, the image of the Maori warrior coexists with that of the gang member and violent criminal. The
portrayal of gangs and criminals is also ambiguous: they can appear as a community that provides shelter, support
and whanau, a group of brutal mobsters, or can be depicted ironically as bragging small-scale criminals.
Alternatively, the traditional image of the indigenous warrior can turn into that of "the new warrior", an intellectual
leader who "is deeply committed to the regeneration of Indigenous people's integrity" and rejects stereotypes and
challenges the dominant colonial discourse (Alfred; Hare et al.; Hokowhitu). Our presentation will analyze such
representations of warriors and criminals in New Zealand films like Once Were Warriors (1994), What Becomes of
the Broken Hearted?(1999), Boy(2010), The Dark Horse (2014) and The Last Saint (2014).
Max Kramer
Humboldt Universität Berlin, Germany
([email protected])
Sanjay Kak's Series on "Indian Democracy" and the Transformation of Radical-democratic Film Practices
in India
Sanjay Kak's series of films, often referred to as "the trilogy on Indian democracy", deals with some of the most
contentious issues of recent Indian politics: the Narmada anti-dam demonstrations in "Written on Water" (2002),
the Kashmir issue in "Jashn-e-Azadi" (2007) and the communist-indigenous struggle in "Red Ant Dream" (2013).
In this presentation I will examine Kak's film practice through a lens of mobility, linking questions of new publics
to the politics of film-form. Special stress will be given to the creation of trans-regional imaginaries within the
transformations of independent digital documentary filmmaking in India. By moving away from older analysis of
agit-prop political documentary, present research on the media-cultures of documentary in India often focusses on
the "potentialities" of the digital and the politics of film form mainly from a "life-philosophical" or "political
aesthetic" perspective and pays relatively little attention to still vibrant rhetorical-antagonistic documentary film
practices as presented in the recent work of Kak. In my paper I argue that new transregional articulations of film
practices emerged due to the distribution of digital media and the proliferation of new film-festival movements. The
shift from life-philosophy towards a more antagonistic understanding of "media cultures" and transregional
"identities" proposed in this presentation can offer fruitful insights into the politics of film-practices.
Stankomir Nicieja
University of Opole, Poland
([email protected])
Globalisation or Sinicisation?: Embracing East-Asian Cultures in Recent Hollywood Blockbusters
The countries of East Asia, especially China and Japan, have always been an important inspiration for Hollywood
productions. However, many of the Hollywood films from the past which featured Asian themes often portrayed
the region and its inhabitants in an offensively crude and patronising manner. In the XXI century, openly prejudiced
representations of Asia and Asians are no longer acceptable. This is certainly true thanks to crucial changes in
attitudes and greater acceptance of ethnic minorities in contemporary United States. However, economic factors
seem to be of much greater importance here. Today almost 70% of the Hollywood studios' annual box office revenue
comes from markets outside the USA, and sizable proportion of this from East Asia. Therefore, Hollywood
producers have had to "re-Orient" themselves to Asia, not only by taking into consideration the specific tastes of
Asian audiences but crucially also attitudes of Chinese censors. Basing on the example of three major films, Roland
Emmerich's 2012 (2009), Shane Black's Iron Man 3 (2013) and Seth Rogen and Evan Goldberg's The Interview
(2014), I am going to investigate in my paper how contemporary American movie industry deals with the Asian
challenge. Relying on the theoretical framework of postcolonial criticism and placing my analysis within a broader
historical context, my presentation will discuss different ways in which Hollywood studios re-adjusted their
production and promotional strategies in their bid to open up to East Asia.
Natasha Avramovska
Institute of Macedonian Literature, UKIM, Skopje, Macedonia
([email protected])
Posthumanism and Transculture in Everyday Life and the Perspectives
The paper is an attempt to illustrate and summarize the presence of posthuman phenomena affecting our everyday
life as well as the presence of transcultural tendencies. In my opinion, these two tendencies represent the macro
frame, which anticipate every single relevant topic of cultural observation today.On the one hand, the posthuman
tendencies of our development as a human civilization so far certainly reconfigure our concepts of human, gender,
or national culture(s) and appear as a horizon beyond the known boundaries and cultural concepts of any kind. On
the other hand, the transcultural tendencies appear to explore the universal human experience and overcome the
gaps between different national, religious, or other cultures. Furthermore, transculturalism seems to have a strong
belief in the universal experience of the human soul and too in the bodily pledge of the humans. Hence, the paper
would also try to explore the nature of the coexistence of posthumanism and transhumanism in everyday culture:
do they coexist as opponent tendencies on the crossroad of human development or they both participate (in their
own way) to transcend humanity on another level of understanding existence?
Sergey Borisov & Vera Ignatova
Belgorod State University of Arts and Culture, Russia
([email protected]; [email protected])
Ontology of Freedom through Transhumanity Criticism
In the article the authors try to relate the paradoxicality/absurdity of the true faith context of our existence in the
prospect of the breakthrough to instant/free new insights in the comprehension of the sense existence. In Christianity
a human being as a God's image combines the possibilities of sublime spirituality but as a sinful being he needs
correction. Exactly these ideas gave an image of "discipline of mind" and "scientific ascesis" which created the
paradigm of a scientist-monk who presents at ordinary consciousness till now. The authors rise a question of how
the figure of sacral death and the Event of sacral Immortality defined a paradox of rational thought developing for
two millennium which comes to an end in "post-Christian / post-secular world" with absolutely oppose the idea of
profane immortality of a person. The authors note that modern mankind "is prepared" by mass culture, media
equipment and the latest technologies for redesigning of own corporality and consciousness with the perspective of
"immortality finding". Death absolutization or its demonizing together with their visible contrast meet in
metaphysical status of death and a mode of total need. The critical interpretation of the radical atheistic version of
transhumanity is carried out in the article. It is noted that the strategy of code conversion of magic understanding
of death and sacral immortality in the techno and metaphysical project of death overcoming is the basis of all options
of transhumanity.
Nikita Starikov, Michail Ignatov & Viktor Rimskiy
Belgorod State University of Arts and Culture, Russia
([email protected]; [email protected])
Submission Culture as an Object of the Theory of Management
The view of interpretation of methodological problems of research of a phenomenon of submission is presented.
Submission is expressed not so much in acts of execution of decisions and imperious will, but expressed in special
psychology which main line is experience (both individual, and collective) of inferiority, estrangement from
opportunities of realization of the interests. From these positions binary consideration of the power submission,
traditional for our humanity, is represented not always objective. The fact is that power and submission don't oppose
one another, but co-relate instead. Moreover, values of submission and value of management aren't reduced to each
other. Majority manager actions can be described as unreasonable, irrational and affective in terms of the theory of
management. Whereas the standpoint of "theory of submission" they're also open to radically others: thoughtful,
calculated, and reflexive. Thus, the conclusion about limitation of management theories tools for objective analysis
of this phenomenon is drawn. Ideas of clarification of researches of submission from stereotypes of management
disciplines organically correspond to the principles of sociocultural approach to the analysis of society. According
to this approach the community (not the state) is subject of own reproduction an essence of social development.
Hypothetically, influence of culture of submission on reproduction of society is represented not only considerable,
but also, among other things, technologized. Social technologization of submission begins with its ideologization.
Boris Petrović
Paris Sorbonne Alumnus
([email protected])
Comparative Analysis of the Neoclassical Urban Plans of 19th Century Haussmannian Paris and the 21st
Century Skopje
The proposed paper would inspect similarities between the 1853 Haussmannian intervention of Paris (when almost
the entire city of Paris was flattened to the ground and built anew) to the ongoing reconstruction of Skopje. Both
are done in the key of neoclassical architecture; both try to supplement and "upgrade" the already existing urban
and cultural identity with a new one; in both cases, what is the "new" identity, is the actually anachronous style
belonging to a past time; in both cases, there is therefore a notion of "going back" to the past that is not only
perceived as superior to the present (romanticized) but is also seen as a corner stone of the national identity. Urban
landscape will therefore be analysed as a constitutive aspect of the nationalistic myth building and the process of
acquisition of national identity. Both were done in fairly young states (in case of France, counting from the French
Revolution, and more so from the advent of the Second Empire; in case of Macedonia, counting from the separation
from Yugoslavia). Anthropological, architectural and urban planning analysis are to be synthetically brought
together in a frame of nationalism as an active and ongoing cultural construct.
Joanna Zielinska
Jagiellonian University, Poland
([email protected]; [email protected])
Sites of Memory: Transformation of Politics of Memory in Urban Space of Post-Dayton Sarajevo
Every historic epoch embodies its narrative in monuments, sites of memory (Pierre Nora), institutions that serve as
the fundaments of community memory, culture and identity. I would like to raise an issue of transformations of
urban space and contemporary politics of memory and identity in post-Dayton Sarajevo. In the last 20 years,
Sarajevo has undergone significant economical, political and social transformations that had immense impact on its
urban representation. In my presentation I hope to cover two points: firstly, I would like to mark the process of
transition from the idea of polis to the idea of post-polis (Ewa Rewers) in post-Dayton Sarajevo. After that, I will
examine the politics of memory and identity referring to specific examples of sites of memory, among all: park
Vraca, Jewish Cementary and Vijećnica. I will present the process of construction and reconstruction of cultural
and civic identities of these places and its impact on the representation of urban space. Moreover, based on the
results of field research I portray the community response to ongoing changes.
Mirjana Stošić
Faculty of Media and Communications, Belgrade, Serbia
([email protected])
Securing the Community of One: Un/Common-scape of Homesickness
This paper deals with immunological practices of Kafka's anonymous inhabitant in an unfinished late narrative "The
Burrow" (Der Bau, 1923-1924), building the labyrinth within the burrow in order to safeguard it from proleptic,
future or imminent intruders. The mole-like builder of the labyrinth structure is securing its house from parasites
"known" only by the noise they make. This noise – against which the obsessive stuffing of holes and drilling the
passages take place (including the infinite displacement of the center and margin) – corresponds to the radical
faceless alterity, given that the "face" of noise is precisely the mudded face of the burrower. Entrances in Kafkaesque
literary worlds are in fact the limit of the passage as such, the impossibility of being only inside or only outside.
The aggressive covering of porous and loose walls, and closing the possible passages is endangering the burrow
structure as such. The burrow becomes the centralized system, always suppressing the heterogeneity of gateways,
entrances and exits, the difference that will erode the silenced fixity of centered identity. Ultimately, the burrow
becomes infinitely fractalized.The question of alterity, within the tradition of guarding the wholeness of the subject
(its body, its proper place, its identity and its name), is often reduced to the question of corporeal, political, cultural
parasites of the communal body. The other, as a parasitical emblem, destabilizes the notion of the limit (between
the host and the guest), and is the sign of a host being always already a frightened guest of its own homely place.
Nikica Gilić
Faculty of Humanities and Social Sciences, University of Zagreb, Croatia
([email protected])
The Scandal of National Hero Ljiljan Vidić: Reexamining National, Ideological and Other Narratives as a
Challenge to Cultural Dominants
Narodni heroj Ljiljan Vidić, second feature-length film of Ivan Goran Vitez, challanges strongly the viewers’
expectations of dealing with the Yugoslav past. Scenes taking place in Second Worls War, with historical
phenomena such as Partisans, Ustashe and Chetniks, are used to challenge the ideological order in Croatia, probably
in other post-Yugoslav states as well.
Re-thinking the relations between politics and culture is the chief goal of this film (in addition to that of
entertaining), at the same time endangering the hegemony of nationalist narratives on the right and the hegemony
of the revolutionary narratives on the left. The paper discusses Vitez's methods of achieving these goals, as well as
consequences it can have for the communities affected by the historical tradition and contemporary trends
referenced in the film. The historical figures of Tito, Pavelić and even Hitler, ideologically highly charged, figure
in the film quite prominently, making its impact even stronger, its scandal more interesting.
Sergey G. Korkonosenko & Marina A. Berezhnaia
St Petersburg State University, Russia
([email protected]; [email protected])
Media for Integrity: Dialogue within Community and about Community
Various civil communities (ethnic, local, religious, environmental, subcultural and other ones) create as if the tissue
of society. A huge role in rallying of communities play their media channels – newspapers, magazines, radio and
television, websites. On philosophical level their activity correlates with communitarian ideology (A. Etzioni); in
professional relation it coincides with a communitarian normative theory of journalism (D. McQuail); they also
should be regarded as an identification instrument for new cultural and social identities creation. Despite of the
increasing role in identification processes communities' media rare become the focus of attention, when considering
the activities of communities. The idea of the prospective paper is to introduce a project on community media.
Initiators' purpose is to create an environment and a platform for inter-cultural and professional communication
through dialogue in a special media community (community of community media). Practically, a series of meetings
of communities' media personnel (including web conferences) should be organized, to help them to share their
experience and discuss ways to organize effective work for integration and unity of communities, as well as to give
an opportunity to establish professional and friendly contacts. Personal collaboration is supported by event video
production. The St Petersburg State University occupies managing position in the program but the activity in
principal is interregional and international. The first stage of the project has been performed at the international
seminar "Journalism communities: Experiences and research in Russia and abroad", held in St Petersburg (March
10, 2015).
Noni Kamenova
Sofia University St. Kliment Ohridski, Bulgaria
([email protected])
Media Discourses of Shaping Ideology and Crisis-management in Multiethnic Society
The core matter of analysis in this article is manifestation of hurt feelings as a favorite and favorable ethnic party
approach to support its public image. Intentional encoding of the covert messages and possible goals to achieve.
Parallel to this is the establishment of a new party identity and structure, as well as settlement of this topic in the
public space. The paper tries to elaborate on depiction of intraparty conflict, its optional future perspectives and
trends and divisions and multi-branching of ethnicity in politics. An insight is given to the specific features of the
public sphere in the country (Bulgaria) and influences of ethnic party on the national political life so far. Media
behavior and coverage of ethnic matters are briefly depicted and analyzed. Communication models of generating
conformity and facilitating inclusion are aimed at explanation. Special attention is paid to any forms of taking
political stances of divisions and distinctiveness, discovering embedded interests and new structures of hegemony.
Discoursive constructions of remembrance, forgetting and forgiving are viewed as facilitated in social deliberation
and formal political behaviour. The paper insists on exploring opaque relationships, causality and determination
between events, texts and political growth and public discourses of shaping ideology in multiethnic society. Main
forms of political communication are highlighted in this process.
Tijana Pešić
University of Novi Sad, Serbia
([email protected])
Media Representation of Jovanka Broz
Media texts are often the reflections of a given culture, and they are based on dominant politics. Deconstruction of
media narratives provides clear image of society. The power over media representations is a significant instrument
because it (de)legitimises collective memory, draft of future, collective history. The influence of media,
understanding of history, and also the way in which media constructions are changing under the pressure of politics
and ideology is clearly evident within the case of Jovanka Broz. The topic of this research is media image of Jovanka
Broz in print media. Corpus of research includes texts in print newspapers: "Blic", "Politika", "Novosti", "Kurir"
and "Danas". Methods used are content analysis and discourse analysis. Results show that construction of the image
of Jovanka Broz is changing, from protocolar "doll" and wife, to acknowledge public and political figure, and finally
to tragic heroine, combined with dominant patriarchal patterns.
Olya Kazakevich
Siberian Federal University, Krasnoyarsk, Russia; Institute for Human Sciences (IWM), Vienna, Austria
([email protected])
On the Queer Politics of Television: "The Case of Tanya and Natasha"
Beauty makeover television can be seen as an important site through which to look at how mainstream culture deals
with queer bodies as it performs important cultural and ideological work in terms of turning non-normative bodies
into socially acceptable forms of embodiment. Even though an openly non-heterosexual participant is a rare case in
the makeovers, still such cases exist and deserve academic attention. In this paper, I analyze an episode of the
famous Russian makeover program "Fashion Verdict" that features a queer woman, who openly declares her
longterm romantic relationships with another woman. The episode clearly acts out anxieties about the same-sex
desire, given the fact that it was aired in August 2012, when the first "gay propaganda" laws had been approved by
some Russian regional parliaments. The question is to what extent this episode can be seen as a challenge to the
hitherto uncontested heteronormative regime of the show. By analyzing how the queer body is represented in the
show, I examine dominant narratives about female homosexuality and suggest what kinds of fantasies and anxieties
are contained within the show and how the depiction of lesbians is mediated by the current political debates and
Russian cultural imagination. I argue that this queer micro-narrative reinforces the notion of the normative female
body as well as heteronormativity. However, the episode clearly invests in making visible non-heterosexual
relations, and these two aspects of the show are impossible to disarticulate.
A. Baran Dural
T.R. Trakya University, Turkey
([email protected])
The Macedonia Conflict versus Young Turk Revolution
Young Turk Revolution in 1908 was seen very promising both for Muslim and Christian population of the Ottoman
State in order to overcome the ethnic conflict within the state at first sight. The Young Turk Revolution trying to
find an interconnection within the ethnical groups by gathering the minorities in a unity under the "Ottoman
citizenship" with the ideology called "Ottomanism." The Jewish population and the Albanian leadership were only
two groups supporting the "Ottoman identity" being proposed by Young Turks, where as Serbian, Greek, Bulgarian,
Macedonian groups were either trying to unify themselves with their fatherlands or getting ready to win their
freedom over Turkish rulers. Getting rid of the "Turkish Yoke" was the main parole for the Balkan national
identities; the Balkan leaderships neither settled down nor built a strong relationship with the Progress and Union
Party which came into power after the Young Turk Revolution. The clear view supporting Balkan leaderships fought
to determine their people's destinies against the Ottoman State, and showed that the Ottoman State would continue
its way losing the grand ideal of surviving as an Empire. The state will have to face with the fact Ottomans had to
transform into a state which will survive with the left-overs of the old empire regime. Therefore the Progress and
Union leadership should bargain with all of the ethnical groups either to force them to their last limits to stay within
the state or negoiate with the groups who still give a chance to the "solidarity ideal" of the Revolution. In this article
the "rocky road" of the Balkan nations will be examined under the scope of the Young Turks Revolution's attitude
towards the Macedonia Conflict.
Salome Khvadagiani
Tbilisi State University, Georgia
([email protected])
Repatriated Armenians: Migration and Nationalism
In European countries the process of self-determination of nations and formation of the main markers of this process
begins in the 19th century. Neither the quest for answers to the questions – who are "we" and who "they" are – has
lost its relevance in the 21st century. People migrate from one country to another and sometimes their motives are
closely related to the questions mentioned above. One can find several families who left their prosperous lives in
European countries or America and moved to their homeland, which still suffers from economical and sociopolitical problems. Why do they move from the place, where they have strong economic ground to the place, where
everything is in ruins? The paper aims to study the role of nationalism and the sense of nation belongings in the
process of migration in the Armenian case. Armenia is a post-Soviet country and its economical or political state is
quite poor. Besides this some people still choose moving from Europe to live there. The main research question is
the following: What are the main motives when people move from the rich countries to the poor ones? What affects
the most their decisions to migrate? What thoughts are common among the repatriated people from Armenia? A
preliminary hypothesis: Nationalism affects individual decisions of moving from the rich countries to the poor ones.
In our case, Armenians from Germany, France, USA, Canada, etc. prefer to return to their homeland because of
their strong national feelings. The current survey is an attempt to check this hypothesis.
Mary Meares
University of Alabama, USA
([email protected])
Technology as a Mechanism for Voice: The Case of Black Lives Matters in the United States
Traditionally in social scientific research, technology has been viewed as a mechanism for controlling workers and
citizens (Giddens, 1984). However, with the rise of the Internet, social media, and digital phone photography,
technology is increasingly a tool for citizens to have their voices and concerns heard. While a digital divide still
exists, this paper examines the ways technology has been used by the African American community in the US, a
traditionally muted group, to document and share incidents of racial injustice, and to raise the cry for systemic
change in the United States. Based on Muted Group Theory (Ardener, 1975), this paper examines the ways in which
activists are using "Black Twitter," blogs, social media, and other technology to challenge the racial and power
status quo, but also the ways in which they are condemned for not following the rules of dominant (Whitecontrolled) discourse. I will examine the implications for voice, democracy, and social change, as well as research
on emerging topics related to culture, identity, and muted groups.
Nino Pirtskhalava
Ilia State University Tbilisi, Georgia
([email protected])
The European Tradition of the Perception of the Multiculturalism of Multiethnic City (Tbilisi)
During the 19th and 20th centuries, thanks to the development of an unique spiritual ambiance – the strong
international coloring of the population (Jews, Armenians, Azeris, Russians, Germans, Poles) – Tbilisi had a crucial
importance within the Caucasus as the model of a multiethnic, multiconfessional, multicultural city. It became the
meeting place of different oriental and occidental phenomena.
It was Alexandre Dumas who started an absolutely unique tradition of the perception of Tbilisi. This perception has
become determinative later not only for most Europeans, but also for the Georgians' auto-identification of their own
existence as a culture situated at the hinge of Occident and Orient. Dumas' apperception of the Tbilisian boundaries
between Occident and Orient is explicitly musical. The polyphonic palette of its tonal colors becomes even more
patent against the background of the Persian poems of Saadi sung in the district of the sulfur baths as well as of the
execution of Verdi's "Lombards" at the opera house. Thus, it was between the belcanto of Italian opera and the sung
Persian poetry that the 19th century French writer perceived multinational Tbilisi resounding in the context of the
Tsarist multinational Empire: Russia as a "sombre sovereign" and Georgia as a "jolly slave".
Precisely this is what gave birth to the European tradition of the perception of mediating function of Tbilisi as an
intersection between East and West, as a borderline and a passage. The mediating function of this liminal region
attracted attention of many European artists.
Inna Fomina
Lomonosov Moscow State University, Russia
([email protected])
Political Discourse: Bridging the Gaps
The paper deals with the challenges faced by translators working with various kinds of politics-related texts. The
key focus is on the translation gaps arising from differences in the English and Russian systems of political concepts.
The purpose of the paper is to consider whether the translation techniques used in this case are always successful
and what linguistic and, more often than not, extralinguistic factors should be taken into account in an attempt to
reach complete (or at least near-complete) mutual understanding. The research covers different styles and genres of
texts, as a similar term can have different meanings depending on the speaker, the addressee, the general context,
the inherent message etc. The article also focuses on the interaction between individual decisions made by
translators and the long-term influence they make on the system of concepts in the target language.
Ryszard W. Wolny
School of English and American Studies University of Opole, Poland
([email protected])
Gilles Deleuze and Felix Guattari's Concept of Deterritorialisation as Globalisation of Culture
In a rapidly changing world, the World Wide Web, transcontinental flights, a plethora of telecommunication and
spy satellites, constantly and incessantly encircling our planet, delivering the pictures from and to every spot on
earth, powerful agencies monitoring every movement of any individual they wish to monitor, eavesdropping on
every word and sound emitted anywhere, there are no real borders, either in physical or metaphorical sense. That
we have been living in a global village seems evident since at least the times of Marshall McLuhan (1962) but today
globalization is undoubtedly the vital part of everybody's culture everywhere in the world.Therefore, the aim of this
paper is to explore the concept of deterritorialisation, formulated in Gilles Deleuze and Felix Guattari's "AntiOedipus" (1972), as a decisive factor in the process of culture's globalisation that we have been witnessing since
the last decades of the 20th century.
Merita H. Meçe
Clemson University, USA
([email protected])
Globalization and Local Culture: The Complexity of Global-Local Dynamics on New Generation
Construction
Globalization is defined as a process where humans move around the world, interconnect with each other and
exchange culture. Being culturally constructed, they inevitably manifest cultural differences in their interactions. It
is argued that not all cultures flow easily across the globe (Ritzer, 2011) because they are closely linked with power
and money (Hopper, 2007). Therefore, in the age of globalization where intensity of intercultural contact is very
high, local cultures of underdeveloped societies are highly exposed to global pressures to change despite their
struggle to keep their own identity. In this process they can become more traditional by raising various barriers to
prevent themselves from another culture (cultural differentiation) or may adopt a more constructive approach by
learning from other cultures and reinventing themselves while interacting with them (cultural hybridization). Being
aware that both, the global and the local are engaged in the process of globalization, this paper aims at examining
the complexity of the global-local dynamics of culture in the Western Balkan countries in the age of globalization.
Using secondary data, it will highlight the importance of their citizens as active agents of local culture preservation
rather than passive recipients of every culture. It concludes that in this diverse world, culture can have a very
transformative power in constructing new generation.
Gail Baylis
University of Ulster, UK
([email protected])
A Visual Micro-narrative of Nation-imagining
The idea of the nation becomes monochromic once the nation comes into being: this is a narrative that positions
modernity as the outcome of nation-formation. As part of this process, gender, through repeated performances of
national belonging, comes to be seen as natural. Prior to the consolidation of this hegemonic narrative, spaces exist
for the exploration of a range of projections of identity. These imaginings occur in utopian spaces which open up
opportunities for the reconfiguration of gender.Through reading one micro-narrative of nation-imagining this paper
reveals an alternative cultural performance of gender and identity. It will highlight how performance, in this
instance, an actual dramatic performance and visualisation, a series of photographs that document this dramatic
event, are key sites for uncovering a more complex and fluid narrative of identity and nation that contains radical
modernities. While the example focused on will be an Irish one, it offers an exemplum for why the idea of the nation
needs to be reconsidered in terms of how we understand the relationship between gender, identity and modernity.
Its conclusion, therefore, is that micro-narratives offer legitimate, less visible, often buried cultural practices that
once uncovered can challenge the grand narrative schema of the nation.
Ana Došen
Faculty of Media and Communications, Belgrade, Serbia
([email protected])
Cultural Narratives of Superflat and Supercute: Feasting on the Imaginary
Japanese artist Takashi Murakami conceptualized the Superflat art movement based on "flattened" form of Japanese
animation, manga and Edo wood-block art and its specific way of controlling "the speed of observer's gaze". His
"theory of art in two-dimensions" proclaims the absence of depth where all the differences of cultural, social,
historical (temporal) contexts operate as comparable and equal. Additionally, the phenomenon of Japanese cuteness
(kawaii) – emanating the playful, the immature and the gentle, demonstrates the immense fascination towards the
realms of "flat" fictional characters. The proliferation of cute characters, ranging from those globally recognized to
the locally contextualized mascots (appearing on diverse consumer products), seems to be unrelenting. This paper
explores the cultural narratives of superflatness in which viral consumerism obliterates the distinction between art
and commodity, and gives prominence to no-depth content designed for instant gratification, measured in a blink
of an eye.
Kej Vackermann
University of Bayreuth, Germany
([email protected])
Overcoming Loneliness through Strategic Liminality
The present enquiry into cultural isolation employs Afro-Caribbean novels of transformation to explore the notion
of loneliness as produced by colonial neurosis. Bildungsroman by Caribbean women writers like Jamaica Kincaid
often divert from the classic course leading towards the protagonists` resolution and instead propose to delve into
the experience of isolation amid grand narratives. Kincaid`s heroines in the writer`s semi-autobiographical,
autodiegetic narratives are faced with the gesture of othering from the side of the hegemonic discourse imbued in
colonial conquest, on one hand, and relatively more ambiguous yet equally overwhelming oral histories that
construct the insular psyche on the other. Their existence in this liminal, archipelagic space bombarded by the
conflicting truths of disparate discourses is one of unease and in-between loneliness. However, once having learnt
to embrace the particularity of their positionality, juggling knowledge claims and amalgamating them inside their
own expression of epistemic liminality, the protagonists, and the real-life in-between individuals that have inspired
these fictional selves, can seek solace in the ever-productive cultural chaos that they have been made privy to
because of the initial struggle with loneliness. Therefore, the current presentation is designed to synthesise novels
of transformation with Bhabhaesque and Glissantian theories on culture and its hybridity, among other thinkers,
also accompanying the dimension of intersectionality inside the patriarchy/matriarchy matrix, with a purpose to
construct the liberating concept of strategic liminality.
Angelina Milosavljević-Ault
Fakultet za medije i komunikacije, Beograd, Srbija
([email protected])
Spekulativna misao i pobuna protiv pravila u poznoj manirističkoj umetničkoj teoriji: shvatanje pojma
disegno u "Ideji" ("Idea", 1607) Federika Cukarija (Federico Zuccari)
Renesansna umetnička teorija je uvela koncept matematičkih pravila kao osnove umetničkog stvaranja koji treba
da olakša proces umetničke proizvodnje. Ona nije razlikovala rivalitet između genija i pravila, kao ni rivalitet
između stvaranja i podražavanja već postojećih modela. Tokom 16. veka, umetnička teorija je prepoznala sukob
između ova dva pola, odn. između vere u umetnikovu spontanu kreativnost i institucionalizovane tradicije i
propisane procedure, postajući, tako, postepeno sve spekulativnija. Za poznomanirističkog umetnika i teoretičara
Federika Cukarija (Federico Zuccari), kako je on to iskazao u svojoj "Ideji" objavljenoj 1607. godine, pravila drže
umetnikov um, njegovu imaginaciju i moć kreacije u okovima. U ovom radu želimo da pokažemo da je za Cukarija
disegno (ideja, koncept) bio osnovni princip, uzrok sve čovekove misli, a ne samo likovnih umetnosti. Osnova na
kojoj on gradi svoj argument je bila, aristotelovska, ideja da sva misao zavisi od mentalnih slika, i da zbog toga što
te unutrašnje predstave stvaraju sirov materijal za sve više mentalne procese, one uslovljavaju sve aspekte naše
misli i dela. Cukari je jednostavno prepoznao suštinske procese čulnog opažanja i saznanja kao fundamentalne
umne procese, kao neku vrstu disegna. Cukarijev disegno je isto što i filozofiranje, jer predstavlja mentalnu
apstrakciju koja može da služi kao osnova za višu, apstraktniju misao. On je i princip koji vodi delovanje koje, opet,
vodi ka rezultatu, kao sistematski proces, ali se ne može svesti na pravilo koje vodi umetničku produkciju uopšte.
Luka Alebić
Odjel za kulturologiju Sveučilišta Josip J. Strossmyer u Osijeku, Hrvatska
([email protected])
Što i kako s vizualnom pismenosti?
Danas svjedočimo paradoksalnom momentu. Naime, u trenutku kada verbalna komunikacija, kroz područje onoga
što smatramo elementarnom pismenošću usmenog i pisanog izražavanja, dominira kako u službenom obrazovanju,
tako i općenitom shvaćanju o onome što znači biti pismen, mi svjedočimo realnosti koja je prije svega posredovana
vizualnim znakovima. U kontekstu života u informacijskom, preciznije digitalnom dobu, konstantno se susrećemo
s formama izražavanja kao što su ilustracije, video spotovi, bastardne forme slike i teksta, fotografije, suvremena
rješenja kompjuterskih sučelja, infografike i slično. Također, situacija eksponencijalnog ubrzanja protoka
informacija, kao i konstantno usložnjavanje tehnoloških i teorijskih rješenja, podrazumijevaju kompjuterski
posredovanu komunikaciju, koja je, dakako isto, u najvećoj mjeri vizualnog karaktera. Spomenutu paradoksalnost
pronalazimo u situaciji neadekvatno usmjerene pozornosti vizualnim aspektima komunikacije, kao danas
dominantnoj formi izražavanja. Upravo zato, ovim radom pokušali smo ukazati na bitnosti i specifičnosti digitalnog
konteksta komunikaciranja, u kojemu je većina čovjeku posredovanih informacija, u formi grafičkog izražavanja.
Također, istraživanjem tematiziramo teorijske okvire, kao i primjenjive stručne kompetencije vizualno pismene
osobe koji za ciljeve imaju proširiti shvaćanja pojma elementarne pismenosti, kao i dati konkretne smjernice u
razvoju vizualnog obrazovanja.
Miranda Levanat-Peričić
Odjel za kroatistiku i slavistiku, Sveučilište u Zadru, Hrvatska
([email protected])
Radnička klasa u postjugoslavenskoj zbilji i reprezentacija radnika u hrvatskoj književnosti – u procjepu
između heterotopije krize i devijacije
Kategorija radnika doživjela je niz transformacija u postsocijalističkim društvima, osobito u postjugoslavenskim
tranzicijskim i ratnim okolnostima, s privatizacijom i deindustrijalizacijom, koja je sociološki, ekonomski i politički
posve razgradila privilegiran status radništva. Budući da je u promijenjenim povijesnim okolnostima klasna
solidarnost shvaćena kao dominantno ideološko obilježje napuštenog samoupravnog socijalizma, novi ekonomski
i politički narativi usmjerili su se na religijsku, nacionalnu, regionalnu, rodnu, pa čak i generacijsku homogenizaciju.
Pritom se kulturna praksa koja isključuje koncept radnika manifestirala na svim razinama, od novogovora koji je
hrvatskom leksiku devedesetih uveo neoliberalizmu podobniji supstitut "djelatnika", do razvlašćivanja u novom
vrijednosnom sustavu kojim dominira poduzetnik kao ideal i pokretačka sila novog društva. Radništvo je postalo
fantomski prisutna klasa, metonimijski vezana uz prazne tvornice, iz kojih je nekad moćna masa iscurila i rastočila
se u statistikama nezaposlenih, umirovljenika, dužnika, vlasnika blokiranih računa i sakupljača plastične ambalaže.
Time su od samoupravljača i proizvođača radnici najprije pretvoreni u ideološke Druge, a zatim u realne "bivše
radnike", koji su u tranzicijskoj zbilji iz vitalnog dijela kreativne sadašnjosti i utopijskih projekcija progresa,
premješteni u umirovljenu prošlost. Zbog svega toga znakovito je da se u suvremenoj književnosti radnik opet javlja
kao naslovni leksem i kao književni lik – povratak radnika događa se iste godine u drami Gorana Ferčeca "Radnice
u gladovanju" (2014), kao i u prozama Viktora Ivančića "Radnici i seljaci" (2014). U Ivančićevim kratkim pričama
"Paviljon", "Laufer" i "Aukcija", književne reprezentacije radnika razvijaju se u kontekstu pobune ili nove utopijske
žudnje u kojima, ne bez razloga, Ivančić priziva Agambena da bi humanost prikazao kao ozbiljnu devijaciju u
monstruozno izokrenutoj logici korporacijskog kapitalizma. U ovom će se radu posebna pozornost obratiti
reprezentaciji prostora pobune obzirom na Ivančićevu sklonost heterotopijama, koja se manifestira i kao kriza i kao
devijacija – starački dom, zatvor ili bolnica ona su protumjesta na kojima se tranzicijska zbilja okrutno poigrala s
bivšim radnikom i uništenim potencijalima koje je stvarao u svojim projekcijama budućnosti. U tom smislu
indikativan je i naslov Ferčecovih eseja "Priručnik za jučer" – ako je, naime, utopija pisanje povijesti budućnosti,
onda su ove proze preispitivanje, refleksivni eksperiment usmjeren na otkrivanje futurističkih potencijala naše
prošlosti.
Doris Pandžić
Filozofska fakulteta Univerze v Ljubljani, Slovenija
([email protected])
Položaj poezije u suvremenoj kulturi – važnost vrste medija kao prijenosnika stihova
Ovaj članak prikazuje rezultate ankete provedene na ispitanicima od 17 do 25 godina, učenicima srednjih škola i
studentima humanističkih znanosti s ciljem ispitivanja položaja poezije u suvremenoj kulturi i važnosti načina
prijenosa stihova za publiku. Anketa se sastojala od tri dijela: književno-glazbenih afiniteta, prepoznavanja stihova
i autorstva stihova i ispitivanja važnosti vrste medija kao prijenosnika stihova. U prvom dijelu, ispitivala se
učestalost čitanja poezije i najčešće slušan žanr glazbe. U drugom dijelu ponuđeni su stihovi hrvatskih, francuskih,
američkih i poljskih pjesnika zajedno sa stihovima rock pjesama hrvatskih, bivših jugoslavenskih i američkih
glazbenika i od ispitanika je traženo da prepoznaju autora, ime pjesme i uvrste pripadnost stihova u poeziju ili u
glazbu. U trećem dijelu ispitivalo se je li, prema subjektivnom mišljenju ispitanika, knjiga zastarjeli medij i imaju
li stihovi poezije i stihovi glazbeno izvođenih pjesama istu umjetničku vrijednost. Rezultati ankete su pokazali da
su ispitanici u puno većoj mjeri prepoznavali stihove glazbeno-izvođačkih pjesama, a puno manje stihove poezije
koja je namijenjena za čitanje, pa čak i onih stihova koji su bili učeni na nastavi, u sklopu lektire. Dok je većina
ispitanika navela da ne čita poeziju, velik broj ispitanika je pokazao nadprosječnu informiranost o žanrovima glazbe.
Rezultati ankete navode na zaključak da su stihovi glazbeno-izvođačkih pjesama uvelike zamijenili recepciju
poezije, što ne znači da stihovi više nisu popularni, nego su samo promijenili medij prijenosa.
Aleksandar Risteski
University of Craiova, Romania
([email protected])
How Shakespeare is Popularized in Britain and Abroad
William Shakespeare is one of the most known names not only in the English but also in the worldwide literature.
Four centuries after his death, this writer has been a subject of discussions in various and often contested theoretical
and artistic studies. Many influential authors approached Shakespeare’s work from different perspectives,
establishing the vast academic and literary scholarship. However, Stendhal succeeded to give Shakespeare a unique
place in his well acclaimed and inspiring work "Racine et Shakespeare" (1823, 1825), pointing to the vivid
opposition between Classicism and Romanticism. Therefore, this Stendhal’s pamphlet study is considered to be one
of the first instances of manifestos within Romanticism in Europe of the 19th century.
Dimitar Eftimov
University of Craiova, Romania
([email protected])
The American Literature as Part of the Worldwide Cultural Treasure
Thanks to its independence, the United States of America strived to liberate itself from the European influences in
all spheres of life, including art and literature. However, the fact that European traditions and artistic paradigms
should be challenged and revived through emerging experiences and artistic endeavors of a "new nation" remains
an ever present problem. The American literature will be often focused on the embedded social reality and on
common ground. It seems that the writer who achieved greatest breakthrough in the American and worldwide
literature is Edgar Allan Poe (1809 -1849), and some of the subsequent notable writers are Washington Irving (1783
– 1859) and James Fennimore Cooper (1789 – 1851). This paper deals with the contested realm of "American"
literary space and intends to question the uncritical assumption of a "national" or rigorously identitary literary fields
of investigation.
Yasin Acar
Gelisim University of İstanbul, Turkey
([email protected])
Rethinking Popular Culture and Media
If we acknowledge the hypothesis that “man" is a technical being, as Bernard Stiegler notably states (Technics and
Time I – The Fault of Epimetheus, 1998), developing tools to transform the environment and dominate the nature,
the Enlightenment concept of cultural, technological and scientific progress would be our starting point. This paper
questions cultural and media production of the "human culture" notion in contrast to contemporary "environmental
criticism". Contrary to the popular definition of culture and its insufficient definition (the beliefs, customs, arts, etc.,
of a particular society, group, place, or time), culture can be understood as a pressure device to create a systems of
norms and obeying subjects. This investigation will question the notion of techno-culture within the changing media
landscape, escpecially when it comes to digital humanities and contemporary media politics.
Zlatko Popovski & Vesna Pavlović
Institut za makedonsku literaturu – UKIM, Skoplje, Republika Makedonija; samostalni istraživač
([email protected]; [email protected])
Preispitivanje uloge i značenja kulturno-medijskih narativa u procesima kreiranja javnog mnjenja i
identiteta
S obzirom da smo zakoračili u doba transhumanizma i da nam se teret naučnih novarija i uporno kaskanje za
kapitalom i logikom tržišnih sveponuda počinje razbijati o glavu, ovaj je rad eksplikativni pokušaj da se
disharmonija između umetnosti i estetike protumači u tački jedne ne samo interesantne – već i paradoksalne i
zabrinjavajuće pojave. Naime, radi se o pojavi tzv.imperijalnog spektakla, odnosno o relaciji destrukcije između
umetnosti i medijske estetike, pri čemu je estetika (sada već kao estetika destrukcije) poprimila jedan sociopatološki oblik i delovanje. Naravno da je čitava situacija vrlo složena i da ništa nije došlo odjednom, pa bi bilo
naučno produktivno da se ta relacija prosledi kao rezultat postupnih promena društvenih subjekata i pojave tzv.
homospectator-a, sa jedne – i rastućih transnacionalnih gospodarskih potreba u globalnom re-pozicioniranju sveta,
sa druge strane. Hipoteza je da je društvo spektakla prešlo granice etike, odgovornosti i dobrog ukusa i da je
medijska propaganda, u svojim kreacijama javnog mnenja i u svojim produkcijama identiteta – prešla na nivo rata
slikama. Cilj je da se isledi cela ta situacija i da se zaokruže dominantni narativi, koji bivaju iskorišćeni u polju
medijske kulture, kako bi se uvidela moguća perspektiva i pretpostavila prihvatljiva rešenja.
Damirka Mihaljević
Filozofski fakultet, Sveučilište u Mostaru, Bosna i Hercegovina
([email protected])
Kultura u političkoj teoriji
Danas u političkoj znanosti govorimo o tri pristupa: strukturalno-institucionalnom, interesno-racionalnom i
kulturno-identitetskom. Pristupi su rezultat spoznaje o tri ključna pojma politike: institucija, interes i identitet. Svaki
od pristupa ima svoje potencijale i ograničenja. Politika svake zemlje određena je globalnim kontekstom, ali on ne
djeluje linearno. Zbog toga se u svim zemjama pored globalnih trendova javljaju i različite heterogenosti.
Kulturalni pristup polazi od kulturnog identiteta i kulturalno utemeljenih preferencija koje ne može objasniti
institucionalni, a ni racionalni pristu.
Мilena Dragićević Šešić & Milena Stefanović
Fakultet dramskih umetnosti, Univerzitet u Beogradu, Srbija
([email protected]; [email protected])
Cenzura i auto cenzura kao institucionalna trauma: uzroci i posledice po organizaciono sećanje
Najtraumatičniji događaji u istoriji srpskih pozorišta vezuju se za fenomen cenzure i autocenzure (Dragićević Šešić,
Stefanović, 2013). Svedočanstva i sećanja na ove događaje uglavnom su izostavljeni iz zvaničnih dokumenata
(monografije, foto izložbe, veb arhiva), ali su ostali sačuvani kao deo oralnih narativa ili novinske arhive.
Traumatični cenzorski događaji proistekli su iz različitih konteksta i uzrok im nije uvek isti. Traume ostavljaju
posledice po identitet organizacije, njen narativ, jedinstvo i organizacionu kulturu. Smatramo da su traumatski
događaji važan deo organizacionog učenja i kontinuiteta, i ako je poslata u zaborav, može ugroziti identitet
organizacije ali i međugeneracijski prenos znanja (Dragićević Šešić, Stefanović, 2013).
U ovom istraživanju, polazimo od Konertonovih sedam tipova zaborava (2008), na koji dodajemo dva nova tipa
zaborava u organizacijama (Dragićević Šešić, Stefanović, 2015). Takođe se slažemo sa Wessel i Moulds (2008) da
je potreba za razvojem zajedničkog jezika i terminologije na polju studija sećanja evidentna i da će pomoći razvoju
dijaloga između različitih disciplina.
Konceptualizacija sećanja uzeće u obzir nekoliko aspekata koje smatramo relevantnim za analizu ponašanja i
reakcije organizacije na pojedinačne traume. Prvo, društveni i politički trenutak kada se pojedinačna trauma
dogodila. Potom ćemo koristiti teoriju Dominika Moisija o geopolitici emocija savremenog sveta kao osnovu za
objašnjenje fenomena (auto)cenzure danas. Zatim, kao važan aspekt, uzećemo u obzir dva istraživanja nacionalnih
kultura (Hofstede1994, GLOBE 2010), koja analiziraju važnost nacionalnih vrednosti u određenim menadžerskim
praksama na globalnom nivou, kao i u procesima organizacionog ponašanja i donošenja odluka. Uzrok ograničenja
umetničkih sloboda, po Izveštaju Unesco-a (2005) je različit, ali skoro 36% slučajeva dolazi zbog političke kritike,
a 17% zbog kritike tradicionalnih i verskih vrednosti. Iako savremene kulture politike deklarativno se zalažu za
slobodu izraza i stvaralaštva, i umetničkim organizacijama "daju" svu umetničku slobodu, atmosfera koja se stvara
oko kontroverznih tema ili osoba je potencijalno opasna i štetna po umetnost, jer organizacije razvijaju "pažljiviji"
ili oprezniji pristup spram nekih pitanja ili individua.
Metodologija istraživanja zasnovana je na studijama slučaja, intervjuima, kao i na analizi zvaničnih dokumenata i
medijskih napisa. U prethodnom istraživanju, izabrane studije slučaja predstavljala su četiri pozorišta sa stalnim
ansamblom u Beogradu dok u ovom istraživanju proširujemo geografski obim, i razmatramo tri evropska slučaja
(auto)cenzure: slučaj Berinske opere (Idomeneo), Comedie Francaise (Handke), i Birmingham (Behzti) s jedne
strane, i slučajeve traume u Narodnom pozorištu u Beogradu sa druge strane.
Josip Miletić
Sveučilište u Zadru, Hrvatska
([email protected])
Unutarpredmetna korelacija filma s ostalim nastavnim područjima nastavnoga predmeta Hrvatski jezik
(primjer Kolarove i Babajine "Breze")
U radu se problematizira položaj filma unutar nastavnog plana i programa te nastave hrvatskoga jezika, ali i
konkretni problemi vezani za unutarpredmetnu korelaciju između filma i ostalih nastavnih područja. Provedeno je
terensko istraživanje u obliku ankete. U istraživanju je sudjelovalo sto trideset i dvoje ispitanika (učitelji hrvatskoga
jezika N=88, učenici osmoga razreda N=44). Anketa za učenike prilagođena je konkretnoj obradi nastavne jedinice
u osmome razredu osnovne škole. Riječ je o pripovijetki "Breza" Slavka Kolara koju su učenici pročitali kao
obveznu lektiru, a zatim su na nastavi pogledali i istoimeni film redatelja Ante Babaje. Nastavnici su procjenjivali
položaj filma unutar nastavnog plana i programa te nastave hrvatskoga jezika. Rezultati istraživanja ukazuju na
pozitivne stavove analiziranih skupina ispitanika o unutarpredmetnoj korelaciji. Iako je većina nastavnika suglasna
da je medijska kultura slabo zastupljena u nastavnom programu, velik broj bi ih ipak prije izbacio nešto iz medijske
kulture nego iz ostalih nastavnih područja, ako nemaju dovoljno vremena za obradu svih nastavnih jedinica.
Ukazuje se na potrebu osvještavanja učitelja o jednakoj važnosti svih nastavnih područja nastavnoga predmeta, a
po mogućnosti i uvođenja još više nastavnih sati medijske kulture, što bi pomoglo i boljem razumijevanju književnih
djela.
Antoanela Petkovska & Konstantin Minoski
Univerzitet "Sv. Kiril i Metodij", Skoplje, Republika Makedonija
([email protected]; [email protected])
Granice i mogućnosti novih paradigmi o kulturnom univerzumu savremenog doba
Heurističke i epistemološke paradigme u društvenim naukama i humanistici dobijaju zamajac iz sveukupnih stanja
savremenog ljudskog univerzuma koja su neuporediva sa stanjima epoha od kraja 19. do kraja 20. veka. Prva
neophodna „revolucija“ odvija se oblikovanjem saznanja da kultura poseduje svoju širu društvenu a ne samo elitnu
dimenziju i da kulturna dinamika ukljućuje kontrakulturne procese a ne samo procese evolucije i kulturne
rezistencije. Na ovaj se način dekodira teza da polje kulture nije predmet samo posebnih „klasičnih“ naučnih i
filozofskih disciplina (na primer, sociologija kulture, psihologija kulture, kulturna antropologija, filozofija kulture)
već i da omogućuje scientističke koncepte koji široko otvaraju vrata interdisciplinarnosti, jukstapoziciju kulturnih
fenomenaper se, uključivanje tehnologije, medijske prakse i univerzalne ljudske paradigme o mestu, ulozi i
praksama u smislu kreacije, imaginacije i uopšte u smislu „pomeranja granica“ znanja i dizajna materijalnog i
duhovnog u samom ljudskom habitusu i u njegovim „mogućim svetovima“ (kulturološke studije, kulturna
sociologija, interkulturne studije, kulturna geografija, transhumanističke studije, studije medija i sl.). Novi
intelektualni diskursi oslanjaju se na racionalizam i analitički pozitivizam scientizma u istoj meri kao i na poetiku,
estetiku, metafizičnost i fantazmagoričnost humanističkih postulata. Naravno, ove discipline ne realizuju navedene
zadatke i ciljeve premasopstvenim ambicijama, ali ukazuju na recentne potrebe nauke i društva da ponovo
sintetizuju saznanja o kulturi, umetnosti, tehnologiji i nauci.
Радомир Поповски
Институт за македонска литература – УКИМ, Скопје, Република Македонија
([email protected])
Хуманистичките одредници на дадаистичкиот антихуманистички настап: спектакуаризација на
стварноста
Почетокот на XX век го провидира специфична ситуација на експандирање на науките и техниката – што,
во таа насока кулминира со појавата на т.н. позитивизам, интернационализација на капиталот и конвулзии
кои што постепено започнале да го парализираат духот на граѓанското општество, состојба која се
манифестира не само на полето на уметностите и книжевноста, туку во културата исцело. Цивилизацијата,
дотогаш во непрекинат и забрзувачки подем, заопочнала да колабира. Уметноста прва ја "доживува"
болеста и – "грчевито реагира" – термин на Бретон од Надја, во која тој вели: "уметноста, или ќе биде
грчевита, или ќе ја нема". Дадаистите, впрочем како и некои други авангардни движења, проценувале дека
падот на сите цивилизациски вредности и норми, произлегува оттаму што цивилизацијата се базирала на
разумот и рационалноста, станувајќи така растечка култура на производството на употребни вредности –
следствено, и на порастот на потребите од забрзано проширување на пазарот (за пласман на стоките и
капиталот). Проблемот на истражувањето е аксиолошкото позиционирање на дадаизмот како
антихуманизам: дали дадаизмот – и покрај тоа што е протест против важечките стандарди и вредности,
против разумот и цивилизацискиот строеж – сепак е хуманистички интониран. Предметот се идентификува
со културолошкото толкување на значењата на телото/телесноста и авангардните постапки и практики
проследени со деструирање на традиционалните вредности, иронија, парадокс и гротеска, миговно
изживување на нагоните и нихилистички постапки.
Драган Стефановски
Самостоен истражувач
([email protected])
Културната различност и градење на религиска толеранција
Секогаш на културните разлики треба да приоѓаме со штитот на разумот, соодветно користејќи го
акумулираното знаење за другоста. Спознавањетона другоста, ја детектира нашата интенција за сеопшта
надоградба. Времето на брзо живеење го отвора прашањето на толеранција, особено во мултикултурните и
мултиетничките општества. Толеранцијатае вистинскиот одговорот на сетот на прашања сврзани со мирот
како на локален така и на глобален план, бидејќи гаењето на чувствата на еднонационализам, расизам и
фундаментализам знаат да доведат до градење на ѕидови наместо мостови на приближување и соработка на
различните култури, јазици и конфесии, кои во суштина се лајт мотивот на самата глобализација.
Поединецот треба да го интегрира принципот на религиска толеранција бидејќи само така може да
опстојува во мултиконфесионални средини. Ако постојат предрасуди секогаш се наоѓа аргумент за
неприфаќање на другиот. Особено помалите држави не треба да стравуваат за опасноста од криза на
идентитетот. Во таа смисла токму младите ја имаат можноста да ја преземат диригентската палка и светот
да го насочат во правец кадешто толеранцијата ќе добие соодветен примат.Кант е во право кога вели дека
секое размислување не е потребно бесконечно да се шири туку да се одредат границите во кои би се
отфрлиле предрасудите, застрашувањето и заблудите, како би можеле да говориме за простор за спознавање
на вистината.
Биљана Рајчинова-Николова
Универзитет "Св. Кирил и Методиј", Скопје, Република Македонија
([email protected])
Телевизиските сапуници и нивната публика (низ хумористичниот македонски серијал Салон
хармони)
Текстовите, медиумите и публиката, заедно претставуваат транспарентен режим, кој се ефектуира преку
трансмисија на текстот од страна на медиумите до публиката. Публиката, понатаму е сферата каде текстот
се перципира и се создаваат значењата. Медиумите го посредуваат значењето и се инволвирани во начинот
на кој публиката ги создава значењата. Интензивното присуство на турските, шпанските, индиските
сапуници во електронските медиуми, а континуираното отсуство на македонски сапуници, ги има изменето
културните хоризонти на знаењето на телевизиската публика. Трудот преку анализа на македонска
сапуница, ќе се обиде да ја истражи поврзаноста помеѓу сапуницата/популарната култура, електронскиот
медиум и публиката. Предмет на истражување е да се истражи опсегот, содржината и значењето на
македонскиот медиумски производ - сапуница во електронскиот медиум, а со тоа да се дефинираат и
начините на концептуализација и разбирање на телевизиската публика на сапуницата. Хипотезата е:
електронските медиуми ја поттикнуваат експанзијата и доминацијата на т.н. странски сапуници(систем на
културна потрошувачка, на сметка на домашните), рапространувајќи ги нивните содржини до публиката,
која е активна во процесот на перцепција и во процесот на креирање и ширење на значења. Целта е да се
истражи улогата и функцијата на електронскиот медиум во (ре)креирањето и уживањето на публиката, а со
тоа да се посочат и начините на кои публиката ја интерпретира й и дава значење на сапуницата.
Методологијата која ќе се применува е херменевтиката - толкување на значењата што сапуницата ги
произведува. Можност за реализација на целта е да се проследат националниот електронски
медиум(македонска телевизија) и популарниот македонски серијал Салон хармони, снимен според
сценариото на Братислав Димитров.
Маријана Јанческа
Универзитет "Св. Кирил и Методиј", Скопје, Република Македонија
([email protected])
Функцијата на женското тело во македонската кинематографија
Предложениот труд разгледува и аплицира некои од различните ставови за телото и неговото значење во
културолошки контекст. Почнувајќи од Лакановата претстава за имагинарна анатомија, ќе го разгледаме
значењето што телото го има за субјектот, за другите во општествениот свет и за симболичниот поредок,
односно културата, за потоа да го сопоставиме со концептот за егото како телесна проекција, според
размислите на Фројд. Телесноста на субјектот и неговата комплесност ќе биде анализирана и преку
телесниот феминизам на Елизабет Грос. Трудот поаѓа од нејзиното дефинирање на телото како невралгично
место за проекција и за преживување на невнимателни претпоставки во врска со половите и со нивните
различни општествени, сексуални и биолошки улоги. Овие различни, и неретко спротивставени теоретски
гледишта за телото во овој труд ќе се разгледуват преку женските тела во неколку филмови од македонската
кинематографија. При изборот на вклучените филмови, се внимаваше да бидат од различни генерации и
сензибилитети: Фросина, првиот македонски игран филм по сценарио на Владо Малески, а во режија на
Воислав Нановиќ; Татко (Колнати сме, Ирина) по режија и сценарио на Коле Ангеловски; Самоуништување
на режисерот Ербил Алтанај и сценарио на Сашко Насев; Збогум на дваесеттиот век режиран од Дарко
Митревски и Александар Поповски; До балчак на режисерот Столе Попов; и Три дена во септември на
режисерот Даријан Пејовски.