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Antonio Gramši posvetio je znatnu pažnju razmatranju kulturnih praksi i njihove funkcije u društveno-istorijskim procesima u svojim teorijskim spisima. Važan segment njegovog istraživanja predstavljala je i analiza umetnosti i književnosti modernog doba koju je na posredan način uključio u širu raspravu o problemu podesnosti istorijskog marksizma kao filozofske i društvene prakse, društvene moći i njene kulturne i istorijske pojavnosti, kulturne i političke emancipacije podređenih slojeva itd. Fokusirajući se u najvećoj meri na eksplikaciju sociokulturnih, političkih i istorijskih dimenzija italijanske književnost od renesansnog do modernističkog perioda, Gramši je razvio nacrt sopstvene verzije marksističke estetike, ponudivši specifična tumačenja problema društvene funkcije umetničkih praksi, prirode umetničkog stvaranja i umetničkog dela, kao i potrošnje umetničkih produkata. U ovom tekstu ćemo razmotriti Gramšijeve uvide o umetnosti u kontekstu njegovih obuhvatnih teorijskih, filozofskih i istorijskih ispitivanja sa namerom da na njihovoj osnovi izvedemo model za analizu muzičkih praksi modernog i postmodernog doba. Cilj takvog poduhvata je ispitivanje dometa / ograničenja gramšijevske analize muzike iz koga bi proistekao kritički osvrt na način primene ključnih koncepata ovog teoretičara u postojećim istraživanjima muzičkih pojava. ; Antonio Gramsci dedicated a lot of his attention in his writings to the analysis of the cultural practices and their function in the socio-historical processes. An important segment of his work included the analysis of art and literature of modern times which was indirectly incorporated into the discussion of the problem of usefulness of historical materialism as a philosophical and social practice, social power and its cultural and historical appearances, cultural and political emancipation of subaltern classes etc. Mostly focusing on the explication of socio-cultural, political and historical dimensions of Italian literature of Renaissance and the modern period, Gramsci elaborated a sketch of his own version of Marxist aesthetic proposing specific interpretations of the problem of social function of artistic practices, the nature of artistic action and artwork and the consumption of artistic artifacts. In this paper we will discuss Gramsci's thought on art in the context of his comprehensive theoretical, philosophical and historical research aiming at elaborating a Gramscian model of analysis of music practices of modern and postmodern times. One of our results should be the examination of the possibilities of the analysis of music based on Gramsci's theory as well as the critical review of the application of its main concepts in the existing body of research on music.

This paper deals with a critical discourse analysis (CDA) of pre-election TV commercials inthe last two campaigns of 2012 and of 2014 in Serbia. The aim of the research is to deconstruct thestrategy of political parties in the field of gender sensitization from a gender perspective based onthe most important activity of parliamentary democracy – the election cycle, using examples ofpaid political advertising – the pre-election TV clip, for which the parties allocated the most resourcesin the campaign of 2012 and of 2014 in Serbia. The aim is also to analyze the personalexperience of female politicians in order to provide a new and different way of analyzing practicesand strategies of the parties in relation to the visibility of female candidate in the mediaduring the election campaign.The basic method is the critical discourse analysis (CDA) complemented by the method ofcomparing the regular election campaign of 2012 and the early elections of 2014, and the methodof life stories of the candidates (oral history). The CDA puts a special emphasis on various forms of discrimination that result from the abuse of power that continues to lead to the emergence ofsocial inequality and injustice (Dijk 2008).There are three levels at which the (in)visibility of women in the political process can be observed:a) the (lack of) presence of women on the candidate lists in the election campaign, andafter the elections, the (decreased) number of women in the parliament; b) (in)visibility of womenin paid media campaigns and c) (in)visibility of women in the language.Practice: a) On the basis of the "principle of affirmative action", women become more presenton the candidate lists and in the parliament as a result of the introduction of quota into the gendersensitive legislation (all SEE countries – Southeast Europe/Western Balkans). b) Women are stillrarely seen in the pre-election TV clip which is the most effective paid advertising, because it is atraditionally male "space", while women are more active in reach-out field work. c) visibility ofwomen in language is achieved, for example, by the use of the Gender-sensitive language Code.(S. Savić).In this paper the focus is on the sub-paragraphs (a) and (b), with (c) being analyzed in a limitedmanner only as part of the pre-election TV clip slogans analysis.A TV clip is comprised of: the slogan and the body of the clip. The slogan is made of aniconic and a linguistic part. In both campaign slogans there were no gender sensitive slogans,except for one in 2014 (URS's campaign for the female Mayor of Belgrade). The body is made ofthe video format and the content. In both campaigns, in 2012 and in 2014 forms of videos werehybrid types that included: documentary footage from the field, speech of the leader speakingdirectly in camera, animation, short fiction form.The analysis confirmed the basic hypothesis: despite the fact that, according to the legal provisionsa female candidate occupied every third position of the candidate lists in both analyzedelection cycles – they are underrepresented in paid political advertising in the media (TV clip).Individual hypotheses are also confirmed.The icons and the contents of the presentation of Serbia in the election cycle in 2012 and in2014 in the election TV clips were masculinized from the standpoint of power in society that isheld by male party leaders. The basic strategy of all parties who had a paid television campaign,in a form of TV clips, in both observed election cycles was the strategy of exclusion from thepolitical space mediated by the media. So we are here talking about a media, and by that, a widersocial invisibility of women in exercising one of the fundamental rights, the right to participationin decision-making and active participation in the elections. ; Cilj rada je da dekonstruiše strategije političkih partija iz rodne perspective u odnosu natelevizijsko predizborno političko plaćeno oglašavanje u kampanjama 2012. i 2014. u Srbiji.Cilj je takođe da se analizira lično iskustvo političarki da bi se na nov i drugačiji način analizirale prakse i strategije partija u odnosu na vidljivost kandidatkinja u vreme predizborne kampanjeu medijima. Metode korišćene u istraživanju su: kritička analiza medijskog diskursa(jedinica analize je tv spot u celini, verbalna, vizuelna i zvučna komponenta), komparativnametoda i životne priče kandidatkinja. Osnovna hipoteza je da bez obzira na to što su, shodnozakonskim odredbama, na kandidatskim listama, u oba analizirana izborna ciklusa, ženezauzimale svako treće mesto – one su podzastupljene u plaćenom političkom medijskom reklamiranju(TV spotu). Osnovni rezultat je da su medijske plaćene kampanje bile maskulinizirane.U fokusu je samo partijski lider. Kandidatkinje su podzastupljene u oba posmatranaperioda. Partije nisu rodno senzibilisane kada je reč o političkom plaćenom oglašavanju uvreme predizborne kampanje.

The policy of pressure on Croatia as an illustrative - although not isolated - example has not inspired empirical and theoretical studies of this phenomenon. The discussion has remained at the level of everyday political discourse, even "coffee-house politics". Due to its extreme topicality, as well as its theoretical "solvency", the author has attempted with this essay to come up with a theoretical definition of the concept of pressure and to demonstrate on the Croatian example its goals, scope, dynamics and future prospects and outcomes. Among the existing approaches, the author has chosen the "politico-economic approach" which defines the policy of pressure as a specific form of political communication between the "centre" and the "periphery" in Wallerstein's "world system". The example of Croatia serves the author as an ideal-type model of such communication through a combination of political science and sociological analysis. In his opinion, and due to certain favourable contingencies, Croatia is the nearest to the ideal type of such communication. + Due to a lack of systematic empirical data, the discussion naturally remains at the theoretical- hypothetical level, and should be understood as an invitation to further discussion and as an incentive for more extensive empirical research. However, since this is a very dynamic phenomenon, the question is: is the author's argumentation still valid today as it was at the time when the essay was written? There have been two changes: (1) the war on Kosovo which proves the author's hypotheses; and (2) a certain "thaw" in the relations between the international community (particularly USA) and Croatia (it is still unclear whether this change concerns the fundamental strategic trends or is solely a "politico-meteorological" phenomenon (the alteration of colder and warmer periods). This is why the author did not deem any alterations in the text necessary; one should wait and in the meantime expose the (hypo)theses to some critical scrutiny. (SOI : PM: S. 211)