DEVELOPING THE CULTURE OF LINGUISTIC EXPRESSION OF PUPILS INSIDE AND OUTSIDE THE SCHOOL ENVIRONMENT

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The culture of linguistic expression as a communication skill, and therefore part of general culture, is subject to a number of developmental and environmental influences. In this paper, the authors, wanting to determine the impact of school and non-school factors on the culture of the linguistic expression of pupils at a younger school age, examine the opinions of teachers (N = 273) on the following: (a) Which factors largely contribute to the development of the culture of linguistic expression of pupils? (b) Which factors largely hinder the development of the culture of linguistic expression of pupils? According to the survey, school contributes most to the development of the culture of linguistic expression in pupils, while means of mass communication have the greatest negative impact on the development of language competences in pupils at a younger school age. These findings emphasize the issue of media literacy or media education, in which parents, teachers and schools, respectively, would be the main media socializators in the field of the culture of linguistic expression.

FOOD CULTURE AS THE BASIS FOR SERBIAN, FRENCH AND ITALIAN PHRASEOLOGICAL EXPRESSIONS

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The subject of this research are Serbian, French and Italian idioms referring to culinary terminology (lexemes that denote groceries, certain types of meals and other culinary products such as lemon, bread, cheese etc.) The main objective of this article is to indicate the relationship between language and culture. Therefore, the motivation of chosen idioms is analysed in order to explore the influence of national culture on phraseological meaning. Idioms are classified into three groups: 1) idioms motivated by customs, experiences and habits of the nation, 2) idioms motivated by beliefs and stories and 3) idioms influenced by literary discourse. The analysis of our corpus shows that different experiences, habits and customs of the Serbian, French and Italian people in relation to food affect their phraseological expressions. On the other hand, despite the fact that each language brings elements of national culture, these nations can also have a similar metaphorical manner of thinking.

GEOGRAPHY AND ART

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The aim of this paper is to analyse the phenomenon of geography in the works of Saša Brajović. Two parallel issues discussed in the paper are 1) whether in the group of texts dedicated to the cult of Virgin Mary in the Bay of Kotor by an art historian from Belgrade, notably in the monographies Our Lady of the Rocks (2000) and In Mary’s Garden (2006), there are elements which point to the presence of a geography of art (dissemination and trajectories of art forms in space, relation between art centres and art peripheries, directions of artists movements, description of artistic topography, availability and nature of materials necessary for art production) and 2) what is the logic of the geographical discourse in the aforementioned historiographical undertaking relating to the two main established theories so far (geographical determinism and geographical possibilism).

TOWARDS UNDERSTANDING OF NATIONAL BELONGING, SERBIAN PHILOSOPHERS AND SERBIAN PHILOSOPHY

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This discussion involves different aspects of multidimensional phenomenon of national belonging and additionally relates to the definitions of “Serbian philosophers” and “Serbian philosophy”. A thesis is defended that, in order to understand and determine national co-belonging it is most appropriate to locate it in the cross section of basic ethnic identity of the genus on the one side and further constitutive cultural/historical identity on the other side, further to be explained through their fusion. Nation co-belonging actually has three dimensions: genetic/generic, personal/decisionistic and cultural/historical. In this regard, Serbian philosophy is then defined in its basic sense as primarily those concepts created and defended by authors – personal holders of Serbian national identity.

FOOD AS IDEA

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This article describes the main sociological and anthropological meanings of nutrition through history, from mythological and religious meanings, through the contrast between poverty and wealth, to the consumeristic, functionalistic, structuralistic and developmental theories (Bourdieu, Douglas, Durkheim, Elias, Fichler, Goody, Levi-Strauss, Mennel, Myerson, Simmel, Sobal, Veblen etc.). It is discussed how food, with all of its cultural customs and rules, has gained different interpretations in different social systems and epochs. All these interpretations share a common fact that food is not only primary human need, but also the ideatic, symbolic, cultural and philosophical concept which represents an integral part of the world views and the way of life specific to a certain community and/or period of time. Particularly interesting is the connection of consumption with the mythological and religious patterns, by which this basic dimension of life becomes a mediator between the profane and the holy world – because, from the archaic times, food has always been a means for achieving unity with the divine.

HOW TO THINK WORK AND PRACTICE

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Contemporary approaches to the terms of labour and praxis have multiple layers. This paper begins from the Aristotelian relation to labour in Hannah Arendt’s work and her insistence on truly human action, separate from instrumental relations. Despite her thoughts on labour, which she reduced to the necessity to maintain life, it is the overall understanding of praxis as a space for diversion, possibility and freedom which is important in Arendt’s work. One of Arendt’s puzzling theses is her critique of Marx’s understanding of labour. Differentiation between labour and work, in the spirit of Marx, is exquisitely developed in Vanja Sutlić’s work. His texts show that the true work (as productio) is, in fact, revelation of a being hiding behind alienation. Hence, the fundamental moment of devising the world is the contemporary understanding of a man as a creative being.

PARADIGM OF PARTICIPATIVITY IN THE CONTEMPORARY MEDIA CONTEXT

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This paper contemplates the paradigm of participativity in the context of contemporary media, since an analysis of the modern media and information-communication context is necessary for acquiring a more wholesome insight into new paradigms of participativity and participative praxis. The papers gives a short overview of key notions, phenomena and processes significant to the context of digital media: convergence and digitalization of the media, multitasking, media as participants in creating messages, expansion of social media. Also, the paper points to certain similarities and differences between participative practices before and after the Internet, to the influence of information-communication technologies on the media, and especially on a possibility as a unique feature of the modern media context: the possibility to use digital technologies and the media to include and engage in the media and technology sphere, in an autonomous way, lead by our own individual interests. The media which enable participation of the users and create possibilities for nurturing and development of participative culture, are donominated in this paper as participatory media. Basic notions of their key characteristics are given, of significance to the subject of this paper.

DURKHEIM’S USE OF THE TERM CULTURE

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Using the method of content analysis, in our work we offered a concise insight into the use of the term “culture” in the work of Emile Durkheim. Bearing in mind that the heritage of enlightenment can be perceived in Durkheim’s work, but indirectly the traditions of Romanticism as well, we consider the issue of using this term an important one. The specter of meanings associated with the notion of “culture” makes it suitable for use as a kind of indicator. Much like the Rorschach stains, very different meanings can be loaded into it. Findings show that Durkheim did not use the word “culture” very often, considering the volume of his work. He most often connected it with the scientific, intellectual, logical, etc. We paid special attention to his most important works (The Division of Labor in Society, Rules of Sociological Method, Suicide and the Elementary Forms of the Religious Life). Other works are covered by a quantitative analysis of the use of the word “culture” in which we tried to find the most frequent attributes that appear alongside the aforementioned term. The analysis covers most of Durkheim’s opus published during and after his life.

DIFFERENCE IN SERENITY

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Two stories have been studied using a comparative method: Death in Venice by Thomas Mann and Byron in Sintra by Ivо Andrić. Connection in the poetics of these two authors is found by pointing out similar motifs and processing them. Comparison is achieved at four different levels: the treatment of cities in these stories; the treatment of artists as heroes of narratives; the form of beauty and love which they seek; and the different action of beauty and love for them. The actions of the protagonists provoke general moral issues. At the same time, the theme of love connects and separates these stories. Special attention is devoted to defining differences in the serenity of the narratives.

IMPACT OF INITIAL EDUCATION ON THE PROFESSIONAL COMPETENECES OF TEACHERS – ARTISTS AND ARTISTS-TEACHERS IN TEACHING ARTS

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Starting from different curriculums of art faculties and teaching colleges, as well as the competences future teachers gain in their study programs, the impact of various factors is analysed, like the impact of initial education on the level of creativity of teaching and divergent creative thinking or artistic/form-related aspects seen in drawings etc. Established facts are then correlated to the competences of teachers/artists (artists who teach art in schools) and teachers/non-artists (teachers of other subjects) for the realization of teaching and educational objectives, tasks and contents of arts as a primary school subject, as well as to the possible consequences on the creative development of pupils. Research was carried out on a sample of three hundred and thirty-two (332) teachers from thirteen (13) Serbian cities. Characteristics of creative, divergent thinking were monitored based on indicators taken from a standardized research instrument called Modified Creative Williams Test (Tunik 2005), while for the monitoring of artistic and form-related aspects of drawings, a special instrument was created. Based on differences which appear in characteristics of the artistic expression and depending on the initial art education i.e. art pedagogy, statistically significant differences were identified between these two populations, pointing to the need to establish new hypothesis, especially by further researching competences of teaching staff in fulfilling primary objectives of Arts as a teaching subject, and especially researching their impact on creative development of primary school pupils as well as initial education and gaining competences for teaching specific subjects like art.