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The author discusses the crucial question of whether Serbia truly pursues the path of modernization and European integration, or just a simulation of these processes. The author proposes the thesis that there are numerous obstacles on Serbia's transitional path toward the (post)modern European society. Therefore, he tries to discover the essential reasons for the citizens' reluctance and resistance, the reasons which are related to the modernization of the Serbian society. Serbia is today at the crossroads of the traditional and modern understanding of life. It contains some elements of (post)modernization, but still with a strong influence of its traditional (conservative) heritage. The processes of re-traditionalization (re-mythologization and pseudo-mythologization) represent a major obstacle to the liberation of the society from the grip of the past and to its orientation towards European values. According to the author, the main creators of retrograde flows can be found in the political establishment of contemporary Serbia. He labels them, ironically and derogatorily, the 'guardians' of tradition, who use demagogic statements, populist paroles, and media information control (for their personal and party interests) to slow down Serbia on its European path.

Тематски Зборник Свакодневна култура у постсоцијалистичком периоду настао је као резултат научне сарадње Етнографског института САНУи Етнографског института и музеја БАН. Велике политичке и друштвене промене током деведесетих година 20.века озбиљно су се одразиле на свакодневну културу балканских земаља. Управо у периоду кризе, две суседне етнолошке установе, бугарска и српска, које више деценија током социјалисатичког периода нису сарађивале, отпочеле су заједнички рад на истраживању свакодневне културе. Зборник показује у ком правацу су се одвијали културни процеси у Србији и Бугарској, које су сличности и разлике међу њима, али и шта се дешава у постсоцијалистичком периоду у појединим сегментима свакодневне култура Словака, Руса и Македонаца. ; The Collection of Papers entitled ―Everyday Culture in post-socialist period is a result of collaboration between the Institute of Ethnography, Serbian Academy of Sciences and Arts, and the Institute of Ethnography and Museum, Bulgarian Academy of Sciences. The enormous political and social changes during the 1990's influenced also everyday culture of the Balkans states. After decades of hinder, and precisely in the period of crisis, two neighboring ethnological institutions, the Bulgarian and Serbian, started to cooperate together in the study of everyday culture.The Collection of Papers demonstrates the directions of the cultural processes in Serbia and Bulgaria, accentuating the differences and similarities among the two states, and also explains the deeds within certain segments of everyday cultures of Slovaks, Russians and Macedonians. ; Зборник радова Етнографског института САНУ 22 / Collection of Papers of the Institute of Ethnography SASA 22

Predmet rada su činioci i struktura političke kulture mladih u Srbiji. Politička kultura shvaćena je kao sveukupnost političkih i politički relevantnih orijentacija među pripadnicima jedne političke zajednice koja obuhvata nekoliko tipova orijentacije: kognitivne, afektivne, motivacione, vrednosne i ponašajne. ; The paper explores the factors and structure of youth political culture in Serbia. Political culture is defined as a comprehensive sum of political and politically relevant orientations of the members of a political community and comprises several types of orientations: cognitive, affective, motivational, evaluative and behavioural. Accordingly, five components of youth political culture were distinguished and operationalised by a large number of indicators. The empirical basis for the thesis is a survey conducted in 25 randomly selected secondary schools from the city of Belgrade. The total of 788 students from four different types of secondary school participated in the research: grammar schools (N=202), technical (N=207), economic (N=211) and medical (N=168). The sample was restricted to students of the final year (average age M=18.10, SD=.40). Three-quarters of students (75%) in the sample attend urban secondary schools and one quarter suburban (25%). There were more female participants (58%) than male (42%). Research results indicate that the level of youth political knowledge is low. The majority are not informed about topical social and political issues nor acquainted with certain basic rules regarding the functioning of the Serbian political system, such as the election threshold, government composition or the number of MPs. The prevailing feelings towards numerous analysed political objects are negative. Young people are highly dissatisfied with the current socioeconomic situation. The President, the Government, the Parliament, police, judiciary, the European Union or NATO, are not much trusted. Political cynicism is dominant, while for the majority politics is not the field of interest nor is considered important in life. Most students believe that they cannot influence political affairs (however, surprisingly, they are ready to vote in the following elections) while their opinions on social activism are divided. The attitude towards pro-system values is often ambiguous and vague. The attitude towards democracy is predominantly positive. However, the majority of students do not perceive favourably the newly established mechanisms and institutions of market economy and are hence more inclined towards the socialist than (pro-)market orientation. It can be said that they do not support the freedom of speech, multi-party system and rule of law.

In the 1960s, the quantity of publications on aesthetics of music significantly increased in Hungary. The variability of the subjects, the approaches and the opinions are result of an explicit ideological reordering based on the consequently articulated politics of anti-Stalinism. By the mid-sixties the economic founding and sustainability of socialism and its optimized operation became the crucial problem for the power, hence the importance of natural and social sciences increased in the public discourses. The arts were no longer treated as mere illustrations of the political power and its intentions. I focus on the main contributions to aesthetics of music of the so-called creative Marxism written by three internationally acknowledged Hungarian scholars of this period: József Ujfalussy, Dénes Zoltai and János Maróthy. Selected texts are analized from theoretical points of view and interpreted in the context of the Hungarian cultural policy and the national and international career of their authors as well. ; Током шездесетих година прошлог века, број публикација о естетици музике значајно се повећао у Мађарској. Разноврсност тема, приступа и мишљења резултат је експлицитног идеолошког престројавања услед артикулације политике антистаљинизма. Будући да су средином шездесетих година економска утемељеност и одрживост социјализма и његова оптимизација постале кључни проблем власти, порастао је значај природних и друштвених наука у јавним дискурсима. Уметност више није третирана као пука илустрација политичке моћи и њених циљева. У овом раду фокусирам се на главне доприносе естетици музике од стране заступника тзв. креативног марксизма; аутори чије радове разматрам јесу три међународно призната мађарска естетичара из овог раздобља. Одабрани текстови анализирани су са теоријског становишта и интерпретирани у контексту мађарске културне политике, као и националне и међународне каријере аутора. На основу семиналне књиге Музичка слика стварности (1962) испитујем како се Јожеф Ујфалуси (József Ujfalussy) обавезао да ће конкретизовати основне категорије опште естетике марксизма-лењинизма у музици, да би створио музичко-теоријску основу за дебате о (социјалистичком) реализму у музици. Као резултат својих истраживања, Ујфалуси је разрадио интерпретацију категорије интонације, која садржи психолошке, неурофизиолошке и акустичке компоненте, као и разматрања о историји музичког материјала, мелодији, хармонији и жанровима уопште. Према мојој хипотези, његова естетика је од велике важности јер је послужила као чврста основа за Бартокову парадигму културне политике која се опрезно оријентисала према Западу и његовој "буржоаској" култури. Ову тенденцију је додатно развио Денеш Золтаи (Dénes Zoltai). У овом сегменту текста истражујем како је Золтаи заговарао антидогматску и либерализовану теорију уметности у својој збирци радова Превазилажење "књижевноцентричности" социјалистичког реализма (1964), у којој је музика коришћена као методолошка основа (а не књижевност). У својим написима он је изнео и ново тумачење националног карактера социјалистичке културе, наглашавајући важност интеграције разних дивергентних националних традиција буржоаске уметности. У овом раду, Золтаи се изричито позвао на политички маргинализованог, светски познатог филозофа и естетичара Ђерђа Лукаша (György Lukács), који је са ентузијазмом заговарао оријентацију социјалистичке музичке културе према Бартоковом духу и укупном опусу. Књига Музика и буржоазија, музика и пролетеријат (1966) коју је написао Јанош Мароти (János Maróthy) такође је престављала фундаменталан допринос мултидисциплинарном успостављању марксистичке музикологије у Мађарској. Интегришући неке резултате Ујфалусија и Золтаја, Мароти је конструисао наратив који је требало да буде предисторија социјалистичког реализма. Услед његових политички мотивисаних и застарелих ставова о функцији уметности,као и делимично телеолошког и нормативног карактера његове теорије, ова књига се изразито супротставља другим двема књигама које су предмет овог разматрања. Упоређивањем комплементарних и супротстављених елемената ових дела и њихове рецепције, постају нам разумљиви теоријски проблеми реализма и социјалистичке музичке културе тог времена, а може се видети и како су марксистички теоретичари покушавали да пронађу везу између савремених изазова и европских традиција. ; Часопис је индексиран на http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 и у међународној бази ProQuest. / The journal is indexed in http://doiserbia.nb.rs/, http://dais.sanu.ac.rs/handle/123456789/914 and in the international database ProQuest. Издавање ове публикације подржали су Министарство културе и информисања Републике Србије, Министарство просвете, науке и технолошког развоја Републике Србије и СОКОЈ - Организација музичких аутора Србије / The publication of this volume was supported by the Ministry of Culture and Information of the Republic of Serbia, the Ministry of Education, Science and Technological Development of the Republic of Serbia and SOKOJ - Serbian Music Authors' Organization

The analysis has shown that both approaches are legitimate and useful in understanding and maintaining democracy. Of course, the interactional approaches are more complex, as well as more important and more vital for understanding democracy. The analysis has shown how political culture (democratic legitimation or political trust, support for civil freedoms, satisfaction with the functioning of democracy, etc.) often depend on the elements of the very political structure (party systems and coalition models, election patterns, patterns of democracy, positions in power structure, etc.). Political culture is autonomous in relation to political structure, but frequently its role greatly depends on the relations among political actors and the variables of the political culture itself. The analysis has also demonstrated how these investigations into the interaction (combined effects) between political culture and structure are extremely sophisticated and that in the future they are going to become the most fruitful part of political science, making possible not only a deeper understanding of the "dynamic regularities" in the functioning of democracy but also the attempts at its "innovative sustainment" and gradual development. (SOI : PM: S. 131) + The purpose of this essay is to prove the connection among political culture, political structure and democracy. All the arguments pointing to such a connection have been analysed within the framework of two fundamental approaches to the relationship between culture and structure i.e. within the framework of the classical approach to their correspondence (which claims - primarily in line with the functional theory of culture - that there is a functional concordance between culture and structure, that democracy is mirrored by the civic political culture, i.e. that "culture is a structure's way of life", that culture determines the structure) and the contemporary interactional approach (in which - primarily in line with the theory of culture "as meaning" or "social functioning" - complex relations among various cultural variables and structural variables are analysed as well as their combined effect on democracy as the consequence of these relations). The latter approach considers democracy not as a "fixed condition" but rather as a dynamic phenomenon or the end result of the combined interactional relationships between culture and structure

Engl. Zsfassung u.d.T.: Coca-Cola socialism : the americanization of Yugoslav popular culture in the 1960s

The essay describes the evolution of the concept of political culture, from th concepts such as Comte's 'consensus', Durkheim's 'collective awareness', Weber's 'significance of individual actions', to Parson's 'action frame of reference', and Mead's 'national character'. The development began with Comte's search for differentia specifica of social sciences in relation to oth positive sciences and finished in 1963 with the introduction of the concept of political culture into political science by G. Mmond and S. Verba. Our analysis has shown that many definitions of political culture point out that i essence lies in people's beliefs since political culture is a set of beliefs regarding politics. As much as it may seem a paradox, it cannot be reduced to mere individual beliefs, but represents a system of inter-subjective opinions on various political objects. This explains the possible discrepancies between the political events and the political beliefs of the people, between their behaviour and political culture, and so on. Contrary to the belief of some authors, it has been shown how political culture may and should be taken as a common denominator for a variety of opinions on politics. Political attitudes, values, norms, public opinion and political ideologies are nothing but different manifestations of political culture. Thus, the concept of political culture includes diverse facets of the subjective attitude of people towards politics. This is the asset and not the downside of this concept, as some authors would have it. It is pointed out that the manifold manifestations of political culture do not carry the same 'weight' in explaining the political activism of people and the functioning of political systems. The relationship between these manifestations is extremely complex and a challenge for research. It is this very relationship that could explain the stable and less stable (i.e. stable and vacillating) reactions of people in their political activity. (SOI : PM: S. 128)