Suchergebnisse

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.

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

In Serbia, in the aftermath of 5 October 2000, the process of desecularization, including the revitalization of the Serbian Orthodox Church (SOC), overlapped with the democratization of its political institutions, as well as with the political and social pluralism. The desecularization of the Serbian society had already started in the socialist Yugoslavia, but the process itself intensified in the early period of political pluralism and establishment of the democratic political institutions. Is Orthodoxy compatible with democracy, viewed not only as the will of the majority or an election procedure, but also as a political culture of pluralism and rule of law? Is Orthodoxy possible as a "civic" church, in line with the European political tradition of democracy and pluralism? The author contends that the contemporary Orthodoxy, including the SOC, accepts globalization in its technical, technological and economic sense, with a parallel tendency towards cultural fragmentation. Thus one needs a consensus between the SOC, state and society in Serbia concerning the basic values, such as: democracy, civil society, pluralistic discourse, secular tolerance and individual human rights. ; In Serbia, in the aftermath of 5 October 2000, the process of desecularization, including the revitalization of the Serbian Orthodox Church (SOC), overlapped with the democratization of its political institutions, as well as with the political and social pluralism. The desecularization of the Serbian society had already started in the socialist Yugoslavia, but the process itself intensified in the early period of political pluralism and establishment of the democratic political institutions. Is Orthodoxy compatible with democracy, viewed not only as the will of the majority or an election procedure, but also as a political culture of pluralism and rule of law? Is Orthodoxy possible as a "civic" church, in line with the European political tradition of democracy and pluralism? The author contends that the contemporary Orthodoxy, including the SOC, accepts globalization in its technical, technological and economic sense, with a parallel tendency towards cultural fragmentation. Thus one needs a consensus between the SOC, state and society in Serbia concerning the basic values, such as: democracy, civil society, pluralistic discourse, secular tolerance and individual human rights.

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

Izbori i izborni sistemi su veoma važan faktor funkcionisanja političkih sistema i njihove demokratizacije. Kraj prošlog veka doneo je temeljite promene bivšim socijalstičkim društvima širom starog kontinenta. Politički pluralizam, demokratija i tržišna ekonomija postale su široko prihvaćene vrednosti za bivša komunistička društva. Ovo je, sa druge strane, povećalo značaj izbora u svim ovim zemljama, uključujući Republiku Makedoniju. Veoma je teško tvrditi da li su izbori u Republici Makedoniji, od početka njenog postojanja kao nezavisne države, uvek bili u skladu sa pravilima naprednih demokratija, ali svejedno ostaje činjenica da su omogućili demokratiju u ovoj zemlji. Republika Makedonija prihvatila je parlamentarizam i u kontinuitetu iskazivala sve veće poštovanje za volju građana izraženu na fer i slobodnim izborima, iako je u nekoliko aspekata pokazala nedostatak političke kulture i tendencije koje bi se mogle nazvati demokratskim manipulisanjem demokratijom. Glavni cilj ovog rada je da pruži pregled izbora i razvoja izbornih modela u političkom sistemu Republike Makedonije. Kao što će to u radu biti predstavljeno, Republika Makedonija je u ove dve decenije svoje nezavisnosti primenjivala čist većinski izborni model, kombinovani izborni model i proporcionalni model, koji je trenutno u upotrebi. ; Elections and electoral systems are a factor of great importance for the functioning of political systems and their democratization. The end of the last century brought fundamental changes to ex socialist societies all over the old continent. Political pluralism, democracy and market economy became the largely accepted values for ex communist societies. This on the other hand resulted in an increased importance of elections in all these countries, including the Republic of Macedonia. It is very hard to argue weather election in the Republic of Macedonia from the very beginnings of its functioning as an independent country have always been in accordance with the rules of advanced democracies, but never the less the fact remains that they have made democracy in this country possible. The Republic of Macedonia has accepted parliamentarism and has shown in continuity an increasing respect for the will of citizens expressed in fair and free elections, although in several aspects it has shown a lack of political culture and tendencies for what might be called a democratic manipulation of democracy. The main objective of this paper is to provide an overview of elections and the evolution of the electoral models in the political system of the Republic of Macedonia. As will be presented in the paper the Republic of Macedonia in these two decades of functioning as an independent country has implemented the pure majoritarian electoral model, the combined electoral model and the proportional model which is being actually implemented.

Активност Југословенске радикалне заједнице, чији је програм крајем 1930-их година подразумевао поштовање и равноправност три национална идентитета (српског, хрватског и словеначког), битно је утицао на идеју интегралног југословенства у Краљевини Југославији. Часопис XX век, спонзорисан од стране поменуте партије, неретко је кроз филозофско- естетичке и уметничко-културолошке теме имплицирао актуелне друштвено-политичке промене. У раду се сагледава филозофско-естетичко промишљање српског естетичара Бранка Лазаревића, чији су текстови о умeтности (објављивани у часопису XX век) бивали политизовани и инструментализовани за форсирање једне у основи политичке идеје кроз поље уметности. На тај начин, овај часопис деловао је као вид алтернативног уметничког образовања народних маса, те је новопробуђене националне идеје промовисао, тобоже, као идеје за уметничку слободу и уметнички прогрес – пласирајући их метафорички кроз естетичке ставове Бранка Лазаревића. ; During the late 1930s, the Yugoslav Radical Community initiated very important changes in the political regime of The Kingdom of Yugoslavia. One of the principle of this party was affirmation of equality of three differеnt national identity – Serbian, Croatian and Slovenian. The 20th Century Journal, which was sponsored by Yugoslav Radical Community, has implicated actual social-political changes through its articles about philosophy, aesthetics arts and culture. The paper deals with the philosophical and aesthetic observations of the Serbian aesthetist Branko Lazarević, whose articles about art (published in the 20th Century Journal) were politicized and instrumentalized for the promotion of the political ideas through the field of art. In this way, the 20th Century Journal acted as an medium for the alternative artistic education of the masses. This journal has promoted new political ideas as ideas for artistic freedom and artistic progress, by placing them metaphorically through the aesthetic reflections of Branko Lazarević. ; Реализацију научног скупа и штампање зборника радова подржало је Министарство просвете, науке и технолошког развоја, решењем број 451-03-469/2018-14.

Са политичким преокретом 2000. године у Србији отпочео је истовемено и процес идеолошког преобликовања јавних простора. Међу најпроминентнијим видовима оваквог деловања је именовање или преименовање урбаног простора, првенствено улица и тргова, те бављење постојећим споменицима и меморијалима, као и градња и планирање нових. Овакви су случајеви посебно били уочљиви у Београду. Њима су се у неколико наврата супротставиле одређене политичке партије, те неполитичке групе које су организовале уличне акције 'против-именовања' београдских улица, те кампање против новопланираних јавних споменика. Односи моћи и идентитетске политике у овим случајевима биће коментарисани у овом раду. Пропратиће се праксе неколико уметничких и политичких скупина које су спровеле акције и перформансе незваничног преименовања улица, или су пак дискутовале и противиле се подизању новопредложених споменика. (Пре)именовањем одређених градских простора, хегемонске политичке коалиције покушавају да конституишу сигнификантна симболичка места, док, са друге стране, опозиционе противакције покушавају да преузму та иста места и да их реинтерпретирају. У овом ће се раду покушати да прикажу и анализирају поједине идеолошке политике и званични дискурси сећања, те поједине уметничке и политичке контраполитике и опозиционе праксе алтернативне комеморације ; With the onset of political overturn in Serbia in 2000, the process of the ideological reconfiguration of public places was simultaneously being put in motion. One of the most promi- nent means of this endeavor was naming and renaming of urban space, primarily of streets and squares, but also treatment of existing memorial sites and monuments and commissioning and erection of new ones. These undertakings were especially prominent in Serbia's capital Belgrade. Such processes were opposed several times by certain political parties and groups which organized street-actions of counter-naming of Belgrade's thoroughfares and campaigns against newly designated public monuments, and power-play and identity politics of such proceedings will be commented on here. This paper will discuss practices of several artistic and political groups which carried out unofficial street-renaming actions and performances, or discussed and opposed proposed new memorials. By (re)naming certain urban spaces, hegemonic political coalitions are trying to construct significant symbolic places, while oppositional counter-actions are seeking to overtake those same places and reinterpret them. This paper will attempt to sum up and inquire into the ideological politics of official memory discourses and artistic and political counter-politics and actions of opposition or alternative commemoration.

Uporedo sа porаstom političkih tenzijа u globаlnim okvirimа usled аntаgonizmimа ekonomski i vojno nаjmoćnijih zemаljа, prve decenije nаkon Drugog svetskog rаtа donele su i intenzivirаnje konflikаtа unutаr аmeričkog društvа te njihovo problemаtizovаnje u jаvnom i političkom polju. Grаđаnsko nezаdovoljstvo nа tlu SAD-а imаlo je rаzličitа ishodištа kаo i rаzličite vidove kаnаlisаnjа kаdа je reč o metodаmа političkog i društvenog orgаnizovаnjа ugroženih ili obesprаvljenih društvenih grupа. Kаo jedаn od njegovih nаjupečаtljivijih oblikа ispoljаvаnjа bilo je političko, kulturno i društveno delаnje аfroаmeričke zаjednice nаročito tokom 60-ih godinа prošlog vekа, u "nаjborbenijoj" fаzi Pokretа zа grаđаnskа prаvа.2 U ovom periodu znаčаjаn deo аfroаmeričke populаcije počev od predstаvnikа njene političke i kulturne elite do аkterа iz nаjnižih slojevа bio je uključen u rаzličite vidove аktivnosti sа ciljem dezintegrаcije represivnih mehаnizаmа аmeričkog društvа, te otklаnjаnjа ključnih činilаcа političke, kulturne i ekonomske nejednаkosti njegovih pripаdnikа. ; Since the beginning of the 20th century African American intellectual and political elite strived to define the place of black minority in the American society by formulating its political, cultural and economic goals. During that time different concepts of African American culture as well as different cultural policies were promoted in the political, artistic and academic fields. In the 1960s distinct visions of the future of African American community in the American society were consolidated and mediated through the Civil Rights Movement and its multiple organizations that included both the activist from the lower social strata and intellectuals and artists. Among them were many male jazz musicinas as well as a few female jazz artists. Focusing on the artistic work of Nina Simone in the 1960s as a specific example of fusion of political and feministic activism, we will examine the ideological and aesthetical distinction of her position in the fields of politics, music and culture of that period. In that process we will analyze the artistic sublimation of Simone`s understanding of African American racial and feminist identity comparing her views with the predominant perspectives of the African American political, intellectual and artistic elite.

When researching multiculturalism and the process of Europeanisation in Serbia and countries of the region, one must first examine the status of multiculturality and multiculturalism, from the normative framework to states' policies which decidedly determine the nature and functioning of a political community. Starting from the fact that the context, nature and structure of a political community determines the essence of rights and freedoms stipulated by the constitution and laws, as well as that a synergy of good laws and sound policies enables an effective policy of multiculturality, integration and interlacing of cultures of diverse national communities in a society, the proclaimed multiculturalism was studied in this paper, with a view to ascertain whether such constitutional and legislative framework and policies exist, and if they did, whether there was concerted action between them. The key finding was that the states of the region support a civil state in principle, that they are exclusively or predominantly nationally legitimised by the highest legislative acts and that the factual state is marked by various national cultural identities that are not integrated into the model of plural citizenship. The paper shows that there is a lack of political will to transform the declared support for a pluralistic civil state into public policies affirming the values of multiculturalism, as well as that there is a lack of strong institutions to support such policy. Creating civil awareness, strengthening civil values and virtues are not priorities for state institutions or media controlled by governments. Rather than that, their priority is to strengthen national identities. Hence, based on the above, we can affirm that civil states, civil values and civil identities are only at initial stages, i.e. that they are still, only occasionally, at the level of general programme orientation and set aims. The necessary ingredient for their firm establishment is a consolidated democracy and acceptance of universal values of developed democracies, such as the rule of law and protection of human rights and freedoms.

У раду се размaтра утицај политичких промена на кул­турно-­уметнички живот Пољске и Југославије средином прошлог века. Након периода соцреализма, као водећег уметничког правца, у обе земље је отпочета тежња ка деетатизацији културе, што је у сфери организације музичког живота резултирало оснивањем интернационалних фестивала савремене музике. Будући да је пољ­ски фестивал Варшавска јесен (1956), утемељен пет година ра­није, он је постао узор југословенском Музичком бијеналу Загреб (1961), што имплицира потенцијалне аналогије између стратеги­ја и циљева ових манифестација. Оба фестивала замишљена су као места на којима би се сусрели композитори са обе стране Гво­здене завесе. Наиме, организатори су тежили инкорпорирању до­маћих композитора у актуелне западноевропске музичке токове, не би ли створили повољније услове за културну либерализацију Пољске и Југославије. Стога, иако перципирани као отклон од соцреализма, те као вид деполитизације музике, ови фестивали су, сасвим парадоксално, наставили да служе новопрокламованим политичким идејама, усмереним ка презентацији Пољске и Југославије као либерално­-демократских средина. ; This paper examines the influence of political changes on the cultural life in Poland and Yugoslavia from the 1950s to the early 1960s. After a period of socialist realism (as the main art orientation), the tendency toward liberalization of culture started in both countries. In the domain of organizing musical life, such tendencies reflected in establishing of international festivals of contemporary music. The Warsaw Autumn (1956) and the Zagreb Music Biennale (1961) were places where composers from both sides of the Iron Curtain have presented their works. Analogies between these festivals are evident, given the fact that the Polish festival was founded five years earlier and served as a model for establishment of the Zagreb Music Biennale. First of all, the Warsaw Autumn and the Zagreb Music Biennale have shown similar problems in regard to the music repertoire. In addition, the similarities between these festivals are recognized based on the main objectives of both festivals organizers which implied aspiration for incorporation of Polish and Yugoslav music culture into the contemporary tendencies of Western Europe. It was a crucial strategy of the Warsaw Autumn, as well as of the Zagreb Music Biennale, whose purposes were about contributing to the liberalization of both Polish and Yugoslav culture. Therefore, this study has found that these festivals, although perceived as a departure from political ideologization of music, continued to promote modified political aims referring to presentation of Poland and Yugoslavia as liberal countries.

By modernizing society, corruption is becoming the global problem and is considered to be the main cause of state dysfunction. Widespread in a large number of countries, embracing political and social life, corruption has become the everyday life of citizens convinced that without corruption there was no proper functioning of the society. Countries in transition, with an unstable political system, are the fundament for the development of corruption. The fight against corruption is long lasting and painful issue with an unknown outcome. The enjoyment of media attention, the commitment of the European Union and the United Nations, the establishment of anti-corruption organizations and agencies within states are mechanisms to combat this global problem. Anticorruption culture as a preventive mechanism prevents the existing and emergence of new forms of corruption. Effective preventive action requires careful and long-term planning to result in a better quality of life in the future.

Muzičke institucije u Beogradu i Srbiji u drugoj polovini 19. veka u velikoj su meri zavisile od inostranih kadrova, najčešće građana Austrougarske, usled nedostatka adekvatno obrazovanih domaćih muzičkih stručnjaka. Ovakva situacija doprinela je dolasku značajnog broja Čeha, Austrijanaca, Nemaca, kao i Mađara u srpske gradove gde su radili na muzičkom opismenjavanju kako imućnijih, tako i širih slojeva, a po tom i na utemeljenju i ekspanziji visoko umetničke i popularne muzičke prakse. Iz istih razloga se polovinom 60-ih godina u Beogradu našao i Slovenac Davorin Jenko koji će zahvaljujući svom angažmanu u Beogradskom pevačkom društvu i u Narodnom pozorištu steći značajan ugled u srpskoj sredini, kao i u među srpskom obrazovanom populacijom iz Austrougarske. Budući da se Jenkovo delanje u Beogradu poklapalo sa intenzivnim širenjem panslavističkog diskursa i diskursa kulturnog nacionalizma u okviru političkog, kulturnog, naučnog i umetničkog polja uspeh njegovih muzičkih ostvarenja i prestiž koji je vremenom sticao među publikom različitog društvenog profila nailazili su na podeljene reakcije među pripadnicima intelektualne elite. Činjenica da je kompozitor slovenačkog porekla stvarao muziku uglavnom proisteklu iz elemenata šire shvaćenog srpskog muzičkog foklora koju je publika prihvatala i prepoznavala kao srpsku muziku otvorila je prostor za polemike hroničara i komentatora beogradskog muzičkog života u srpskim, vojvođanskim i bosanskim listovima i časopisima. Pokušavajući da objasne fenomen srpske muzike "stranog" porekla autori su izvodili interpretacije koncepa srpstva otkrivajući u njemu izvesne epistemološke rupture. Rasprave oko statusa Jenkove muzike u vidu njenog poimanja kao srpske ili ne-baš-sasvim srpske, ukazivale su na različitost ideoloških pozicija koje su se pojavile u okviru srpske elite iz Kraljevine Srbije i Austrougarske. Cilj rada je da se ukaže na izdiferenciranost etničkog koncepta nacionalnog identiteta proisteklog kao rezultat nepoklapanja u viđenjima elite kada je reč o daljem razvoju srpske kulture. Važan segment predstavljaće predočavanje značaja te pojave u teorijskom i kulturno-istorijskom pogledu. ; In the second half of the 19th century music institutions in Belgrade and Serbia depended a lot on the work of foreign musicians, most of them citizens of Austria-Hungary, because of the continual lack of local educated professionals. Th ese circumstances contributed to the large-scale migration of Czech, Austrian, German and Hungarian musicians to Serbian towns where they helped with the expansion of the musical literacy of both the upper and middle-class parts of society, as well as the establishment of the high-art and popular music practices. Th e same type of "missionary work" motivated Slovenian musician Davorin Jenko to settle in Belgrade during the 1860s where he was active for several decades fi rst in the Belgrade's singing society and later in the National theater gaining public appraisal from the Serbian theatergoers, intellectuals and music experts both from Serbia and Austria-Hungary. Since Jenko's arrival to Belgrade coincided with the growing popularity of the Pan-Slavic ideas and the discourse of cultural nationalism in the fields of politics, culture, science and arts the success of his works among the theatre spectators and music consumers created divergent response in the parts of the Serbian elite. Th e fact that the composer of Slovenian origin created music on the basis of largely defi ned Serbian music folklore that was well accepted and perceived as Serbian among the consumers inspired the debates of music critics, chroniclers and experts in journals published in Serbia, Vojvodina and Bosnia and Herzegovina. Trying to explain the phenomenon of the Serbian music of "foreign" origin commentators performed diff erent interpretations of the concept of Serbian identity showing throughout the process its epistemological ruptures. Th e confl icting views on the status of Jenko's music as Serbian or not-completely-Serbian was a result of divergent ideological positions that appeared among the elites from Kingdom of Serbia and Austria-Hungary. Our aim is to point to the diversity of the defi nitions of the ethnic concept of nation and national identity among the Serbian elites at that time as a consequence of the diff erent understanding of the progress of Serbian culture. Th e special emphasis will be put on the theoretical and cultural-historical implications of that phenomenon.

Активност Југословенске радикалне заједнице, чији је програм крајем 1930-их година подразумевао поштовање и равноправност три национална идентитета (српског, хрватског и словеначког), битно је утицао на идеју интегралног југословенства у Краљевини Југославији. Часопис XX век, спонзорисан од стране Југословенске радикалне заједнице, неретко је кроз филозофско-естетичке и уметничко-културолошке теме имплицирао актуелне друштвено-политичке промене. У раду се сагледава филозофско-естетичко промишљање српског естетичара Бранка Лазаревића, чији су текстови о умeтности (објављивани у часопису XX век) бивали политизовани и инструментализовани за форсирање једне у основи политичке идеје кроз поље уметности. На тај начин, поменути часопис деловао је као вид алтернативног уметничког образовања народних маса, те је новопробуђене националне идеје промовисао, тобоже, као идеје за уметничку слободу и уметнички прогрес, пласирајући их метафорички кроз естетичке ставове Бранка Лазаревића. ; During the late 1930s, the Yugoslav Radical Community initiated very important changes in the political regime of The Kingdom of Yugoslavia. One of the principle of this party was affirmation of equality of three differеnt national identity – Serbian, Croatian and Slovenian. The 20th Century Journal, which was sponsored by Yugoslav Radical Community, has implicated actual social-political changes through its articles about philosophy, aesthetics arts and culture. The paper deals with the philosophical and aesthetic observations of the Serbian aesthetist Branko Lazarević, whose articles about art (published in the 20th Century Journal) were politicized and instrumentalized for the promotion of the political ideas through the field of art. In this way, the 20th Century Journal acted as an medium for the alternative artistic education of the masses. This journal has promoted new political ideas as ideas for artistic freedom and artistic progress, by placing them metaphorically through the aesthetic reflections of Branko Lazarević.