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Rad problematizuje opravdanost „postističkih“ revizija humanizma. U prvom delu rada izlaže se ona misaona linija razumevanja čoveka koja čoveka vidi kao hronično manjkavog za vlastitu „prirodu“ ili „suštinu“ i koja od te neukorenjenosti gradi njegov privilegovan status. Drugi deo rada posvećen je odnosu transhumanizma i kritičkog posthumanizma prema humanizmu. Nalazi se da transhumanizam skladno nastavlja i/ili radikalizuje humanistički projekt samotvoračkog i samotranscendirajućeg čoveka, dok kritički posthumanizam radije zagovara ponovno promišljanje i redeskripiciju čoveka s obzirom na ono što smatra da su bile pogubne posledice humanizma. Zaključni deo rada detektuje izvesnu proizvoljnost u razumevanju humanizma njegovih kritičara, podseća da su se i unutar humanizma baštinili kritički momenti kao njegov vlastiti sadržaj i korektiv, te da su možda suvišne objave radikalnih rezova i raskida sa humanističkom tradicijom. Sugeriše se jedno sinoptičko sagledavanje humanističkih orijentira i njihovih posthumanističkih osuda, koje bi uvažilo i baštinu humanističke misli i obavezu njenog kritičkog preispitivanja., This paper problematises the justification of ‘postist’ revisions of humanism. In the first part of the paper, a line of thought that persistently marks the self-perception of man is presented. It stretches from Plato, through Pico della Mirandola and Kant, all the way to existentialism and philosophical anthropology in the twentieth century. In it, man is understood as chronically deficient in their own ‘nature’ or ‘essence’, and his privileged status is built from this rootlessness. The second part of the paper is dedicated to the relationship of transhumanism and critical posthumanism to humanism. Transhumanism is found to harmoniously continue and/or radicalise the humanist project of self-creating and self-transcending man, while critical posthumanism advocates a rethinking and redescription of man in view of what are considered to have been the disastrous consequences of humanism: a transgression in relation to everything different from man by anthropomorphising it and anthropocentrically measuring it against himself. The concluding part of the paper detects a certain arbitrariness in the understanding of humanism by its critics, reminds that even within such a broadly understood humanism, critical moments have been inherited as its own content and corrective, and that announcements of radical cuts and ruptures with the humanistic tradition are perhaps redundant. It is also noted that something non-negligible has changed with the contemporary challenges of technoscience – artificial intelligence, informatics, robotics –but it is contested that this change in social history requires a cardinal rejection, change or neglect of the intellectual heritage that enables responses to it and/or a rational dispute about it. A synoptic overview of humanist landmarks and their post-humanist condemnations is suggested, which would respect the heritage of humanist thought and the right or even the obligation built into it of its critical review, L’article problématise le bien-fondé des révisions « postistes » de l’humanisme. Dans la première partie de ce travail est exposée cette ligne de pensée qui conçoit l’homme comme chroniquement incomplet dans sa propre « nature » ou « essence » et qui de ce déracinement construit son statut privilégié. La deuxième partie de ce travail est consacrée au rapport du transhumanisme et du posthumanisme critique envers l’humanisme. Il est démontré que le transhumanisme continue et/ou radicalise harmonieusement le projet humaniste de l’homme autocréateur et autotranscendant, alors que le transhumanisme critique préfère opter pour le réexamen et la redescription de l’homme étant donné ce qu’il considère comme les conséquences néfastes de l’humanisme. La partie conclusive de l’article détecte un certain arbitraire dans la compréhension de l’humanisme de la part de ses critiques, rappelle qu’à l’intérieur de l’humanisme s’étaient aussi développés des éléments critiques qui faisaient partie de son propre contenu et de son correctif, enfin que les annonces des séparations et ruptures radicales avec la tradition humaniste sont peut-être superflues. Il est suggéré qu’une analyse synoptique des repères humanistes et de leurs condamnations posthumanistes, prendrait en compte et le patrimoine de la pensée humaniste et l’obligation de son réexamen critique

Rad problematizuje opravdanost „postističkih“ revizija humanizma. U prvom delu rada izlaže se ona misaona linija razumevanja čoveka koja čoveka vidi kao hronično manjkavog za vlastitu „prirodu“ ili „suštinu“ i koja od te neukorenjenosti gradi njegov privilegovan status. Drugi deo rada posvećen je odnosu transhumanizma i kritičkog posthumanizma prema humanizmu. Nalazi se da transhumanizam skladno nastavlja i/ili radikalizuje humanistički projekt samotvoračkog i samotranscendirajućeg čoveka, dok kritički posthumanizam radije zagovara ponovno promišljanje i redeskripiciju čoveka s obzirom na ono što smatra da su bile pogubne posledice humanizma. Zaključni deo rada detektuje izvesnu proizvoljnost u razumevanju humanizma njegovih kritičara, podseća da su se i unutar humanizma baštinili kritički momenti kao njegov vlastiti sadržaj i korektiv, te da su možda suvišne objave radikalnih rezova i raskida sa humanističkom tradicijom. Sugeriše se jedno sinoptičko sagledavanje humanističkih orijentira i njihovih posthumanističkih osuda, koje bi uvažilo i baštinu humanističke misli i obavezu njenog kritičkog preispitivanja., This paper problematises the justification of ‘postist’ revisions of humanism. In the first part of the paper, a line of thought that persistently marks the self-perception of man is presented. It stretches from Plato, through Pico della Mirandola and Kant, all the way to existentialism and philosophical anthropology in the twentieth century. In it, man is understood as chronically deficient in their own ‘nature’ or ‘essence’, and his privileged status is built from this rootlessness. The second part of the paper is dedicated to the relationship of transhumanism and critical posthumanism to humanism. Transhumanism is found to harmoniously continue and/or radicalise the humanist project of self-creating and self-transcending man, while critical posthumanism advocates a rethinking and redescription of man in view of what are considered to have been the disastrous consequences of humanism: a transgression in relation to everything different from man by anthropomorphising it and anthropocentrically measuring it against himself. The concluding part of the paper detects a certain arbitrariness in the understanding of humanism by its critics, reminds that even within such a broadly understood humanism, critical moments have been inherited as its own content and corrective, and that announcements of radical cuts and ruptures with the humanistic tradition are perhaps redundant. It is also noted that something non-negligible has changed with the contemporary challenges of technoscience – artificial intelligence, informatics, robotics –but it is contested that this change in social history requires a cardinal rejection, change or neglect of the intellectual heritage that enables responses to it and/or a rational dispute about it. A synoptic overview of humanist landmarks and their post-humanist condemnations is suggested, which would respect the heritage of humanist thought and the right or even the obligation built into it of its critical review, L’article problématise le bien-fondé des révisions « postistes » de l’humanisme. Dans la première partie de ce travail est exposée cette ligne de pensée qui conçoit l’homme comme chroniquement incomplet dans sa propre « nature » ou « essence » et qui de ce déracinement construit son statut privilégié. La deuxième partie de ce travail est consacrée au rapport du transhumanisme et du posthumanisme critique envers l’humanisme. Il est démontré que le transhumanisme continue et/ou radicalise harmonieusement le projet humaniste de l’homme autocréateur et autotranscendant, alors que le transhumanisme critique préfère opter pour le réexamen et la redescription de l’homme étant donné ce qu’il considère comme les conséquences néfastes de l’humanisme. La partie conclusive de l’article détecte un certain arbitraire dans la compréhension de l’humanisme de la part de ses critiques, rappelle qu’à l’intérieur de l’humanisme s’étaient aussi développés des éléments critiques qui faisaient partie de son propre contenu et de son correctif, enfin que les annonces des séparations et ruptures radicales avec la tradition humaniste sont peut-être superflues. Il est suggéré qu’une analyse synoptique des repères humanistes et de leurs condamnations posthumanistes, prendrait en compte et le patrimoine de la pensée humaniste et l’obligation de son réexamen critique

The development of the Internet and digital technologies has influenced the ever–greater migrations of printed content to the digital sphere (blogs, online media, Internet portals, social networks), which has also brought with itself changes in readers’ habits and in the concept and format of texts as wells. Music press is no exception in that respect. In the context of South European states, these processes coincide with the period of political, social, cultural and economic transition, giving rise to the development of numerous regional and local specific forms of popular culture. The existence of the SFRY as a shared state enabled the creation of an authentic cultural space, which continued to develop even after its disintegration. This paper endeavours to shed light one segment of that local authenticity through an analysis of music press. The aim the authors of this paper aspire to achieve is the presentation of the development path of the printed media in the first place in the Socialist Federal Republic of Yugoslavia, then in Serbia, as well as the reconstructions of the modality of the transformation of this media in the transition period from an anthropological perspective. The wish is to identify the perception and significance of music as a local cultural phenomenon through the qualitative analysis of the archival material and the available Internet sources as well, then to trace the cultural changes that have been going on over time as a result of global and local social and cultural turmoil. We do not refer to press only as the medium which has an informative role, but rather as the medium that reflects the local community’s attitudes, simultaneously constructing narratives on popular culture that are incorporated in our everyday life., Razvoj Interneta i digitalnih tehnologija uticao je na sve veću migraciju štampanog sadržaja u digitalnu sferu (blogovi, online mediji, internet portali, društvene mreže), što je takođe dovelo do promena u navikama čitalaca, kao i u konceptu i formatu textova. Muzička štampa u tom pogledu nije izuzetak. U zemljama Južne Evrope, ovi procesi se poklapaju sa periodom političkih, socijalnih, kulturnih i ekonomskih transformacija koje su dovele do razvoja brojnih regionalnih i lokalnih specifičnih oblika popularne kulture. Postojanje SFRJ kao jedinstvene države omogućilo je stvaranje autentičnog kulturnog prostora koji je nastavio da se razvija čak i nakon njenog raspada. Ovaj članak pokušava da osvetli jedan segment ove lokalne autentičnosti analizom muzičke štampe. Cilj koji autori ovog članka žele da postignu je predstavljanje razvoja štampanih muzičkih medija, pre svega u Socijalističkoj Federativnoj Republici Jugoslaviji, zatim u Srbiji, kao i rekonstrukcija modaliteta transformacije ovih medija u prelaznom periodu. gledišta. Cilj je definisati percepciju i značaj muzike kao lokalnog kulturnog fenomena kroz kvalitativnu analizu arhivskog materijala, kao i dostupnog materijala na mreži, a zatim pratiti kulturne promene koje su se dešavale tokom vremena kao rezultat globalnih i lokalnih društvenih i kulturnih previranja. Štampu tretiramo ne samo kao sredstvo koje igra informativnu ulogu, već više kao sredstvo koje odražava stavove lokalne zajednice, istovremeno stvarajući narative o popularnoj kulturi koji su uključeni u naš svakodnevni život., Le développement de l’Internet et des technologies numériques a influencé une migration de plus en plus grande du contenu imprimé dans la sphère numérique (blogs, médias en ligne, portails web, réseaux sociaux), ce qui a aussi provoqué des changements dans les habitudes des lecteurs, ainsi que dans la conception et le format des textes. La presse musicale ne fait pas exception à cet égard. Dans les pays de l’Europe du Sud, ces processus concordent avec la période des transformations politiques, sociales, culturelles et économiques qui ont mené au développement des nombreuses formes particulières régionales et locales de la culture populaire. L’existence de la Yougoslavie en tant qu’un état unique a permis la création d’un espace culturel authentique qui a continué à se développer même après son démantèlement. Cet article tente d’éclaircir un segment de cette authenticité locale par l’analyse de la presse musicale. L’objectif que les auteurs de cet article désirent atteindre est celui de présenter le développement des médias musicaux imprimés, tout d’abord u dans la République fédérative socialiste de Yougoslavie, ensuite en Serbie, ainsi que de reconstruire les modalités de transformation de ces médias dans la période de transition. L’objectif est de définir la perception et l’importance de la musique comme d’un phénomène culturel local à travers une analyse qualitative du matériel d’archives, tout comme du matériel accessible sur les réseaux, et de suivre ensuite les changements culturels survenus au fil du temps et causés par les agitations sociales et culturelles globales et locales. Nous traitons la presse non seulement comme un moyen qui joue un rôle informatif, mais plutôt comme un moyen qui indique les positions de la communauté locale, créant en même temps des récits sur la culture populaire qui sont incorporés dans notre vie quotidienne.

Rad uporedno ispituje projekte Gaje i planete kao nove prikaze Zemlje, koje je predložio Bruno Latur, odnosno Dipeš Čakrabarti. Sa kritičkim naglaskom stavljenim na političku teologiju apokalipse, prisutnoj u oba projekta, ocrtavaju se šire implikacije ovakvog geospiritualnog zaokreta u debatama o antropocenu. Dok uvod pruža kratak uvid u problematiku antropocena, u drugom delu se ispituje Laturova re-interpretacija „Gaja-hipoteze” u antiholističkom ključu kroz kritiku modernosti, teoriju dejstvenosti, ali i novu metodologiju geotrasiranja, osmišljenoj za otkrivanje organskih transakcija i spona u tzv. kritičnoj zoni. U trećoj sekciji se diskutuje o Laturovom geo-filozofskom eksperimentu izgradnje mitskog prototipa Zemljana, kao posebnog vida ekološke senzitivnosti, i ukazuje na problem postavljanja nauke kao nove zemaljske religije. Četvrta sekcija je posvećena Čakrabartijevom konceptu planete koji je upućen na „otkrivanje” duboke istorije planete, obračun s antropocentrizmom i „plitkom” isto-rijom humanih formacija, ali i umetanje radikalne klimatske neizvesnosti u svakodnevi-cu i uspostavljanje nastanjivosti planete. U petoj sekciji, međutim, bliže pojašnjavamo problem obima koji se javlja u Čakrabartijevom radu, odnosno, pitanja kako otvoriti senzibilnost za tako glomazan skup entiteta kao što je planeta. Iskazujući relativno ne-poverenje prema nauci, Čakrabarti se radije opredeljuje za teološko strahopoštovanje što, tvrdimo, biva teško ostvarivo upravo u planetarnim okvirima. U zaključku, osvrnu-ćemo se ukratko na koncept rezilijentnosti kao potencijalnu dopunu ovih gledišta., The paper comparatively explores the projects of Gaia and the planet as the new images of the Earth, proposed by Bruno Latour and Dipesh Chakrabarty respectively. With critical emphasis placed on the political theology of the apocalypse present in both projects, the paper draws broader implications of such a geospiritual turn in the Anthropocene debates. Whereas the introduction gives a glimpse into the problem of the Anthropocene, the second section explores Latour’s reinterpretation of the “Gaia Hypothesis” in the anti-holistic key through the critique of modernity, theory of agency and novel methodology of geotracing, designed to unravel the organic transactions and links of the so-called critical zone. The third section discusses Latour’s geophilosophical experiment of building the mythical prototype of the Earthlings, as a special kind of ecological sensitivity, and points out the problem of setting up science as a new earthly religion. Section four focuses on Chakrabarty’s concept of the planet, which revolves around the “discovery” of the deep history of the planet, a confrontation with anthropocentrism and the “shallow” history of human formations, but also the insertion of radical climate uncertainty into everyday life and restoration of planetary habitability. In the fifth section we explain in more detail the problem of scale that arises in Chakrabarty’s work, that is, the question of how to open sensibility for such a cumbersome set of entities as the planet is. Expressing a relative distrust of science, Chakrabarty prefers to opt for theological awe, which, we claim, is difficult to achieve precisely in a planetary context. In the conclusion we look briefly at the concept of resilience as a potential complement to these views., Le travail examine comparativement les projets de Gaïa et de la planète comme d’une nouvelle apparence de la Terre, proposés par Bruno Latour, ou encore par Dipesh Chakrabarty. Avec un accent critique mis sur la théologie politique de l’apocalypse présente dans les deux projets, se dessinent des implications plus considérables d’un tel tournant géospirituel dans les débats sur l’anthropocène. L’introduction offre un bref aperçu de la problématique de l’anthropocène, puis est examinée, dans la deuxième partie, la réinterprétation que Latour fait de “l’hypothèse Gaïa” dans une approche antiholiste incluant la critique de la modernité, la théorie de l’efficacité, mais aussi la nouvelle méthodologie de géotraçage, conçue pour la découverte des transactions organiques et des liens dans ce que l’on appelle la zone critique. Dans la troisième section est discutée l’expérience géophilosophique de Latour de la construction du prototype mythique des Terriens, comme d’un aspect particulier de sensitivité écologique, et rend compte du problème de l’établissement de la science comme d’une religion terrienne nouvelle. La quatrième section est consacrée au concept de la planète de Chakrabarty orienté vers la « découverte » de l’histoire profonde de la planète, un règlement de compte avec l’anthropocentrisme et une histoire « creuse » des formations humaines, mais aussi vers l’insertion de l’incertitude climatique radicale dans le quotidien et l’établissement de l’habitabilité de la planète. Dans la cinquième section, cependant, nous expliquons plus en détail le problème des dimensions qui apparaît dans le travail de Chakrabarty, c’est-à-dire, la question de l’ouverture de la sensibilité à un ensemble d’entités aussi volumineux qu’est la planète. En exprimant une méfiance relative envers la science, Chakrabarty préfère opter pour une vénération théologique, qui est, d’après nous, précisément difficilement réalisable dans les cadres planétaires. Dans la conclusion, nous nous penchon

The subject of the analysis of our paper is the social and cultural practice of amateur basketball played by employees of the multinational company Ernst Young in Belgrade. We observed the amateur team as a folklore group, and their participation in sports is interpreted not only as a physical activity, but as a modality of shaping attitudes, values and beliefs related to the company, important for strengthening cohesion among employees and reinforcing their motivation to perform work tasks. Basketball as a sport in which each player aligns on an individual level with the collective strategy of the team is somewhat reminiscent of the activities of Ernst Young employees, such as teamwork, personal and professional development, as well as an organizational culture oriented towards the company's development and growth on the market. The material in this paper was collected using the technique of semi-structured interviews with members of the amateur basketball team Ernst Young, which competes in the Rekreativ League of Belgrade and is composed mainly of employees in this organization. In addition to this base of our ethnographic material, informal interviews were conducted and employee statementsobtained. Using the concept of idioculture of the American sociologist, social psychologist and folklorist Gary Alan Fine, the material related to the creation, expression and subsistence of the group's identity (composed mostly of amateur basketball players) was analyzed and interpreted. Members of this sports community differentiate themselves from other employees in the multinational company through the mentioned group identity. The group is recognized as such by other employees in this organization, which was shown by further analysis performed in accordance with the theoretical and methodological framework of the "folklore diamond" established by Gary Alan Fine. However, Fine himself never applied this framework consistently according to all its elements of analysis. The s

As part of the author's cumulative research on the types of explanation, the structure of explanation and the explanatory capacity of key concepts in sociocultural anthropology, this paper looks at the concept of embodiment. The relevance of reappraising the explanatory power of this concept is manifold, above all on the interpretive, conceptual and paradigmatic level. Research suggests that the concept of embodiment - although very popular, commonly used in very influential scholarly monographs and academic papers, and even proposed as the cornerstone of a "new paradigm for anthropology" - has a very limited explanatory capacity. It seems that its use in no way contributes to anthropological argumentation on the level of explanation - neither cumulatively nor in terms of recontextualisation. Namely, it turns out that by deleting the word "embodiment" from the analyzed arguments nothing would be lost, and that the anthropological explanatory apparatus developed within the anthropology of the body, the anthropology of gender and the anthropology of kinship - whose use precedes contemporary popular uses of the concept of embodiment - does not have a smaller scope in terms of explanatory power.

This paper looks at so-called corona parties in Serbia, which can be seen as a specific paradigm of exhibiting irresponsible health behavior during an epidemic. The term refers to illegal gatherings of a large number of people in circumstances when all gatherings are restricted under anti-epidemic measures. A phenomenon similar to corona parties and co-ocurring with them in the Serbian socio-cultural and pandemic temporal context, is the dancing of the traditional kolo dance in public spaces. Both phenomena represent a conscious disregard for one's own health and of regulations introduced by the authorities, and at the same time an emphatic public display of indifference towards the epidemiological situation in the country, and rejection of the consequent legal restrictions on public life. The paper aims to establish the cultural background of such behavior, i.e. to ascertain its socio-cultural meaning. The indirect or direct endangerment of one's own or other people's health, particularly in a pandemic, can be seen as a misanthropic act. The cultural notions on which such irrational behavior is based are a consequence of a postmodernist relativization of previously existing socio-cultural discourse on science, and are counterintuitive. Behavior based on these notions is an irrational response to changes in socio-cultural reality due to COVID-19. The response is not only irrational but also ineffective, as it cannot eliminate the undesired consequences of the given situation, neither in terms of the illness itself, nor in terms of how it will be managed by those who have been put in charge by the government. Due to this, such behavior can also be seen simply as a deliberate defiance of rules. The misanthropic quality of the behavior of those who ignore anti-epidemic measures by dancing kolo in the streets or attending corona parties is evident in the conscious rejection of the principle of not harming others. Ignoring the possible health risks to themselves, they ig

The fear of death and the myth of immortality are themes long present in various narratives, whether literary or visual. Science fiction as a genre offers us many venues for new explorations of this idea. Mind uploading is one of them. This fictional technique, related to cloning, is performed when the mind and consciousness of a person are transferred to another biological body or machine with the help of technology. In this way, a person continues their social life through their brain functions. This paper looks at four separate recent screen narratives - the movies Self/less, Transcendence, and Replicas, and the episode "Be Right Back" of the TV show Black Mirror. With the help of Tzvetan Todorov's structural analysis, we find clauses that arc present in all of the plots and see what ideas and topics they share. The paper also uses the idea of anthropological reading of science fiction and therefore uses scientific research to analyze these themes. By looking at anthropological findings of immortality, mortality, death in modern society, and digital techniques, we see how the analyzed narratives portray a unique mixture of fear of and longing for all the mentioned processes and ideas. Finally, this paper shows how science fiction could possibly reflect reality - both through presenting thoughts of society and inspiring future technological advances and ideas (in this case, the quest for immortality). While humans are still far from achieving eternal life, the mentioned screen narratives portray the growing stream of ideas that deal with mind uploading in the age of the interne and social media.

This paper focuses on the process of gender socialization of boys, examined through parenting practices of mothers and fathers in the contemporary socio-cultural context of Serbia. The analysis is based on empirical material collected via semi-structured interviews during 2012 on a sample of 24 families with children aged 2 to 12. The constant comparative analysis (grounded theory method) includes attitudes and actions of parents of boys and girls (as a control group) in the process of family gender socialization, and enables interpretation of boys’ gender socialization models on a continuum ranging from traditional to modern upbringing practices of parents. The research shows that parental practices in modern-day Serbia are still primarily traditional. Of the three distinct models of boys’ gender socialization (traditional, transitional and participatory), the last two represent a step forward in the direction of the individualization of parenthood and more egalitarian gender socialization patterns influenced primarily by partner relationship dynamics. These dynamics are initiated by mothers’ reflexiveness and the transformation of the concept of the “sacrificing motherhood”. The dynamic of partner relationships thus shifts in the direction of “sacrificing fatherhood”, that is, a father’s renunciation of a part of the privileges he enjoyed before entering the responsibilities within the household. Interactions with the social environment (and perceived changes in it), as well as interactions with the family of origin are crucial elements in whose interrelation the upbringing practices of parents are built and within which gender socialization of boys takes place in the socio-cultural context of contemporary families in Serbia., This paper focuses on the process of gender socialization of boys, examined through parenting practices of mothers and fathers in the contemporary socio-cultural context of Serbia. The analysis is based on empirical material collected via semi-structured interviews during 2012 on a sample of 24 families with children aged 2 to 12. The constant comparative analysis (grounded theory method) includes attitudes and actions of parents of boys and girls (as a control group) in the process of family gender socialization, and enables interpretation of boys’ gender socialization models on a continuum ranging from traditional to modern upbringing practices of parents. The research shows that parental practices in modern-day Serbia are still primarily traditional. Of the three distinct models of boys’ gender socialization (traditional, transitional and participatory), the last two represent a step forward in the direction of the individualization of parenthood and more egalitarian gender socialization patterns influenced primarily by partner relationship dynamics. These dynamics are initiated by mothers’ reflexiveness and the transformation of the concept of the “sacrificing motherhood”. The dynamic of partner relationships thus shifts in the direction of “sacrificing fatherhood”, that is, a father’s renunciation of a part of the privileges he enjoyed before entering the responsibilities within the household. Interactions with the social environment (and perceived changes in it), as well as interactions with the family of origin are crucial elements in whose interrelation the upbringing practices of parents are built and within which gender socialization of boys takes place in the socio-cultural context of contemporary families in Serbia.

This review paper provides an overview of the ten-year long anthropologi-cal research on the cultural identity of guest workers and their descendants as part of the projects implemented by the associates of the Department of Ethnology and Anthropology of the Faculty of Philosophy, University of Belgrade and the SASA Institute of Ethno-graphy. The projects were supported by the Serbian Ethnological and Anthropological So-ciety and the Faculty of Philosophy in Belgrade. The phenomenon of “temporary workers abroad”, or the so-called guest workers (Gastarbeiter), which emerged in the early 1960s and continued in the decades to come, has long remained beyond the interest of Serbian anthropological and ethnological science. This is why, after having noticed a scientific research gap related to this phenomenon, in 2010 we initiated the anthropological research of the cultural identity of guest workers. Our intention was to take into account different factors of guest-worker identity construction and to look at the processes, discourses and concepts related to this socio-cultural group from different angles. Over time, as we delved deeper into the problem of migrant workers and migration in general, our interests, and consequently our research, expanded to other topics in addition to cultural identity. In that context, this review paper intends to inform the scientific and professional public about the findings of research on migrants working temporarily abroad and their descendants, and to highlight some of the most important topics that we focused on in this research, while being aware that the phenomenon of migrants and migration is so diverse that it is impossible to include or investigate all its elements that make it so complex., Ovaj pregledni rad nudi presek desetogodišnjih antropoloških istraživanja kulturnog identiteta gastarbajtera i njihovih potomaka kroz projekte koji su re-alizovali saradnici Odeljenja za etnologiju i antropologiju Filozofskog fakulteta Univerziteta u Beogradu i Etnografskog instituta SANU. Projekte su podržali Etnološko-antropološko društvo Srbije i Filozofski fakultet u Beogradu. Feno-men „radnika na privremenom radu u inostranstvu“, odnosno tzv. gastarbajtera, koji datira od početka 60ih godina 20. veka i nastavio se u narednim decenijama, dugo je ostao po strani interesovanja srpske antropološke i etnološke nauke. To je i bio razlog zbog čega smo 2010. godine započeli antropološko istraživanje kulturnog identiteta gastarbajtera, uočivši „prazan prostor“ u naučnom bavljenju ovim fenomenom. Namera je bila da se u obzir uzmu različiti faktori konstrukci-je identiteta gastarbajtera i iz različitih uglova sagledaju procesi, diskursi i pred-stave vezane za ovu socio-kulturnu grupu. Vremenom, kako smo dublje zalazili u problem radnih migranata i migracija uopšte, naša interesovanja, a samim tim i istraživanja, proširila su se i na druge teme osim kulturnog identiteta. U tom smislu, ovaj pregledni rad ima nameru da informiše naučnu i stručnu javnost o rezultatima istraživanja migranata na privremenom radu u inostranstvu i njihovih potomaka, da istakne neke najvažnije istraživačke teme kojima smo se bavili, uz svest o tome da je fenomen migranata i migracija toliko raznovrstan da je nemo-guće obuhvatiti niti istražiti sve što taj fenomen čini tako kompleksnim., Cet article de synthèse offre une revue des recherches anthropologiques sur l’identité culturelle des gasterbeiters et de leurs descendants à travers les projets réalisés par les chercheurs du Département d’ethnologie et d’anthropologie de la Faculté de Philosophie de l’Université de Belgrade et de l’Institut ethnographique de l’Académie serbe des sciences et des arts (acronyme serbe: SANU). Les projets ont été soutenus par l’Association ethno-anthropologique de Serbie et la Faculté de Philosophie de Belgrade. Le phénomène des « travailleurs temporaires à l’étranger », appelés gasterbeiters, qui date du début des années 60 du 20e siècle et s’est poursuivi dans les décennies suivantes, est longtemps resté en dehors de l’intérêt de la science anthropologique et ethnologique serbe. C’est pourquoi, après avoir identifié « un espace vide » dans les recherches scientifiques sur ce phénomène, nous avons entrepris en 2010 une recherche anthropologique sur l’identité culturelle des gasterbeiters,. L’intention a été de prendre en compte différents facteurs de construction de l’identité des gasterbeiters et d’examiner sous différents angles les processus, les discours et les représentations liés à ce groupe socioculturel. Avec le temps, comme nous avancions dans nos recherches sur le problème des travailleurs migrants et des migrations en général, nos intérêts, et par conséquent nos recherches, se sont élargis à des sujets en dehors l’identité culturelle. En ce sens, cet article de synthèse a l’intention d’informer le public scientifique et expert sur les résultats des recherches sur les migrants travailleurs temporaires à l’étranger et leurs descendants, de signaler certains des sujets de recherche les plus importants que nous avons abordés, conscients cependant que le phénomène des migrants et des migrations est si varié qu’il est impossible d’englober ou d’explorer tout ce qui le rend complexe.

This paper focuses on the process of gender socialization of boys, examined through parenting practices of mothers and fathers in the contemporary socio-cultural context of Serbia. The analysis is based on empirical material collected via semi-structured interviews during 2012 on a sample of 24 families with children aged 2 to 12. The constant comparative analysis (grounded theory method) includes attitudes and actions of parents of boys and girls (as a control group) in the process of family gender socialization, and enables interpretation of boys’ gender socialization models on a continuum ranging from traditional to modern upbringing practices of parents. The research shows that parental practices in modern-day Serbia are still primarily traditional. Of the three distinct models of boys’ gender socialization (traditional, transitional and participatory), the last two represent a step forward in the direction of the individualization of parenthood and more egalitarian gender socialization patterns influenced primarily by partner relationship dynamics. These dynamics are initiated by mothers’ reflexiveness and the transformation of the concept of the “sacrificing motherhood”. The dynamic of partner relationships thus shifts in the direction of “sacrificing fatherhood”, that is, a father’s renunciation of a part of the privileges he enjoyed before entering the responsibilities within the household. Interactions with the social environment (and perceived changes in it), as well as interactions with the family of origin are crucial elements in whose interrelation the upbringing practices of parents are built and within which gender socialization of boys takes place in the socio-cultural context of contemporary families in Serbia., This paper focuses on the process of gender socialization of boys, examined through parenting practices of mothers and fathers in the contemporary socio-cultural context of Serbia. The analysis is based on empirical material collected via semi-structured interviews during 2012 on a sample of 24 families with children aged 2 to 12. The constant comparative analysis (grounded theory method) includes attitudes and actions of parents of boys and girls (as a control group) in the process of family gender socialization, and enables interpretation of boys’ gender socialization models on a continuum ranging from traditional to modern upbringing practices of parents. The research shows that parental practices in modern-day Serbia are still primarily traditional. Of the three distinct models of boys’ gender socialization (traditional, transitional and participatory), the last two represent a step forward in the direction of the individualization of parenthood and more egalitarian gender socialization patterns influenced primarily by partner relationship dynamics. These dynamics are initiated by mothers’ reflexiveness and the transformation of the concept of the “sacrificing motherhood”. The dynamic of partner relationships thus shifts in the direction of “sacrificing fatherhood”, that is, a father’s renunciation of a part of the privileges he enjoyed before entering the responsibilities within the household. Interactions with the social environment (and perceived changes in it), as well as interactions with the family of origin are crucial elements in whose interrelation the upbringing practices of parents are built and within which gender socialization of boys takes place in the socio-cultural context of contemporary families in Serbia.

The fear of death and the myth of immortality are themes long present in various narratives, whether literary or visual. Science fiction as a genre offers us many venues for new explorations of this idea. Mind uploading is one of them. This fictional technique, related to cloning, is performed when the mind and consciousness of a person are transferred to another biological body or machine with the help of technology. In this way, a person continues their social life through their brain functions. This paper looks at four separate recent screen narratives - the movies Self/less, Transcendence, and Replicas, and the episode "Be Right Back" of the TV show Black Mirror. With the help of Tzvetan Todorov's structural analysis, we find clauses that arc present in all of the plots and see what ideas and topics they share. The paper also uses the idea of anthropological reading of science fiction and therefore uses scientific research to analyze these themes. By looking at anthropological findings of immortality, mortality, death in modern society, and digital techniques, we see how the analyzed narratives portray a unique mixture of fear of and longing for all the mentioned processes and ideas. Finally, this paper shows how science fiction could possibly reflect reality - both through presenting thoughts of society and inspiring future technological advances and ideas (in this case, the quest for immortality). While humans are still far from achieving eternal life, the mentioned screen narratives portray the growing stream of ideas that deal with mind uploading in the age of the interne and social media.

As part of the author's cumulative research on the types of explanation, the structure of explanation and the explanatory capacity of key concepts in sociocultural anthropology, this paper looks at the concept of embodiment. The relevance of reappraising the explanatory power of this concept is manifold, above all on the interpretive, conceptual and paradigmatic level. Research suggests that the concept of embodiment - although very popular, commonly used in very influential scholarly monographs and academic papers, and even proposed as the cornerstone of a "new paradigm for anthropology" - has a very limited explanatory capacity. It seems that its use in no way contributes to anthropological argumentation on the level of explanation - neither cumulatively nor in terms of recontextualisation. Namely, it turns out that by deleting the word "embodiment" from the analyzed arguments nothing would be lost, and that the anthropological explanatory apparatus developed within the anthropology of the body, the anthropology of gender and the anthropology of kinship - whose use precedes contemporary popular uses of the concept of embodiment - does not have a smaller scope in terms of explanatory power.

This paper looks at so-called corona parties in Serbia, which can be seen as a specific paradigm of exhibiting irresponsible health behavior during an epidemic. The term refers to illegal gatherings of a large number of people in circumstances when all gatherings are restricted under anti-epidemic measures. A phenomenon similar to corona parties and co-ocurring with them in the Serbian socio-cultural and pandemic temporal context, is the dancing of the traditional kolo dance in public spaces. Both phenomena represent a conscious disregard for one's own health and of regulations introduced by the authorities, and at the same time an emphatic public display of indifference towards the epidemiological situation in the country, and rejection of the consequent legal restrictions on public life. The paper aims to establish the cultural background of such behavior, i.e. to ascertain its socio-cultural meaning. The indirect or direct endangerment of one's own or other people's health, particularly in a pandemic, can be seen as a misanthropic act. The cultural notions on which such irrational behavior is based are a consequence of a postmodernist relativization of previously existing socio-cultural discourse on science, and are counterintuitive. Behavior based on these notions is an irrational response to changes in socio-cultural reality due to COVID-19. The response is not only irrational but also ineffective, as it cannot eliminate the undesired consequences of the given situation, neither in terms of the illness itself, nor in terms of how it will be managed by those who have been put in charge by the government. Due to this, such behavior can also be seen simply as a deliberate defiance of rules. The misanthropic quality of the behavior of those who ignore anti-epidemic measures by dancing kolo in the streets or attending corona parties is evident in the conscious rejection of the principle of not harming others. Ignoring the possible health risks to themselves, they ig

The subject of the analysis of our paper is the social and cultural practice of amateur basketball played by employees of the multinational company Ernst Young in Belgrade. We observed the amateur team as a folklore group, and their participation in sports is interpreted not only as a physical activity, but as a modality of shaping attitudes, values and beliefs related to the company, important for strengthening cohesion among employees and reinforcing their motivation to perform work tasks. Basketball as a sport in which each player aligns on an individual level with the collective strategy of the team is somewhat reminiscent of the activities of Ernst Young employees, such as teamwork, personal and professional development, as well as an organizational culture oriented towards the company's development and growth on the market. The material in this paper was collected using the technique of semi-structured interviews with members of the amateur basketball team Ernst Young, which competes in the Rekreativ League of Belgrade and is composed mainly of employees in this organization. In addition to this base of our ethnographic material, informal interviews were conducted and employee statementsobtained. Using the concept of idioculture of the American sociologist, social psychologist and folklorist Gary Alan Fine, the material related to the creation, expression and subsistence of the group's identity (composed mostly of amateur basketball players) was analyzed and interpreted. Members of this sports community differentiate themselves from other employees in the multinational company through the mentioned group identity. The group is recognized as such by other employees in this organization, which was shown by further analysis performed in accordance with the theoretical and methodological framework of the "folklore diamond" established by Gary Alan Fine. However, Fine himself never applied this framework consistently according to all its elements of analysis. The s

This paper focuses on the process of gender socialization of boys, examined through parenting practices of mothers and fathers in the contemporary socio-cultural context of Serbia. The analysis is based on empirical material collected via semi-structured interviews during 2012 on a sample of 24 families with children aged 2 to 12. The constant comparative analysis (grounded theory method) includes attitudes and actions of parents of boys and girls (as a control group) in the process of family gender socialization, and enables interpretation of boys’ gender socialization models on a continuum ranging from traditional to modern upbringing practices of parents. The research shows that parental practices in modern-day Serbia are still primarily traditional. Of the three distinct models of boys’ gender socialization (traditional, transitional and participatory), the last two represent a step forward in the direction of the individualization of parenthood and more egalitarian gender socialization patterns influenced primarily by partner relationship dynamics. These dynamics are initiated by mothers’ reflexiveness and the transformation of the concept of the “sacrificing motherhood”. The dynamic of partner relationships thus shifts in the direction of “sacrificing fatherhood”, that is, a father’s renunciation of a part of the privileges he enjoyed before entering the responsibilities within the household. Interactions with the social environment (and perceived changes in it), as well as interactions with the family of origin are crucial elements in whose interrelation the upbringing practices of parents are built and within which gender socialization of boys takes place in the socio-cultural context of contemporary families in Serbia., This paper focuses on the process of gender socialization of boys, examined through parenting practices of mothers and fathers in the contemporary socio-cultural context of Serbia. The analysis is based on empirical material collected via semi-structured interviews during 2012 on a sample of 24 families with children aged 2 to 12. The constant comparative analysis (grounded theory method) includes attitudes and actions of parents of boys and girls (as a control group) in the process of family gender socialization, and enables interpretation of boys’ gender socialization models on a continuum ranging from traditional to modern upbringing practices of parents. The research shows that parental practices in modern-day Serbia are still primarily traditional. Of the three distinct models of boys’ gender socialization (traditional, transitional and participatory), the last two represent a step forward in the direction of the individualization of parenthood and more egalitarian gender socialization patterns influenced primarily by partner relationship dynamics. These dynamics are initiated by mothers’ reflexiveness and the transformation of the concept of the “sacrificing motherhood”. The dynamic of partner relationships thus shifts in the direction of “sacrificing fatherhood”, that is, a father’s renunciation of a part of the privileges he enjoyed before entering the responsibilities within the household. Interactions with the social environment (and perceived changes in it), as well as interactions with the family of origin are crucial elements in whose interrelation the upbringing practices of parents are built and within which gender socialization of boys takes place in the socio-cultural context of contemporary families in Serbia.

Istraživanja srednjovekovnih nekropola na prostoru današnje Srbije pokazala su relativno standardizovan način sahranjivanja tela muškaraca, žena i dece. Pokojnici su polagani na leđa, opruženi, orijentisani zapad–istok. U ovom radu se obraća pažnja na odstupanja od tog normativa na grobljima koja se datuju između X i XV veka na području Srbije. Kritički se razmatra evidencija o individuama koje su obrnuto orijentisane u odnosu na postavljeni standard, onima sahranjenim u zgrčenom položaju, pokojnicima koji su bačeni u grobnu raku ili koji su položeni na trbuh, licem okrenuti ka zemlji. Cilj rada je da otvori pitanje ko su ljudi kojima je onemogućena propisna hrišćanska sahrana i adekvatan tretman tela u smrti. Pretpostavka od koje istraživanje polazi je da postoji korelacija između osoba koje su zatečene u neobičnoj poziciji u grobnom kontekstu i odbačenih, stigmatizovanih i marginalizovanih osoba. Tema se otvara uprkos ograničenjima limitirane evidencije, na bazi teorija o marginalnosti., The research into the Medieval necropolises in the territory of present-day Serbia has established a relatively standardized mode of interment of the bodies of men, women, and children. The deceased were laid supine oriented west to east, with their head to the west. This paper addresses the deviations from this practice recorded in the necropolises dated into the period from the 10th to the 15th centuries. The evidence is critically discussed on the individuals oriented contrary to the established standard, the ones buried in the foetal position, the deceased thrown into the burial pit or laid prone, facing downward. The aim of the paper is to raise the question who were these people, deprived of the prescriptive Christian funeral and the adequate treatment of their bodies in death. The research is based on the precept that there is a correlation between the persons laid in extraordinary positions in their graves, and the outcasts, stigmatized and marginalized individuals. The paper is based upon the theoretical basis that postulates the burial and the treatment of a dead body as the community’s encounter with a social loss and the additional unwanted outcome of death – the cadaver. Additionally, the modes of marginalization and the generation of the marginalized in a society through the deprivation of a decent burial are discussed from various perspectives, starting with the ideas of Robert E. Park, Erving Goffman and Elisa Perego. Regardless of the fact that the phenomenon of the atypically buried individuals has not been duly investigated in the Serbian Medieval archaeology, the analysis of the evidence shows that contexts corresponding to this type are registered at no less than 19 sites. In order to offer a more precise answer to the question which of these individuals have indeed been marginalized and why, it is essential to conduct physical-anthropological analyses, present in only two instances treated here. Considering the quality of the data at the dispos, Les recherches des nécropoles médiévales sur le territoire actuel de la Serbie ont démontré que le mode d’inhumation des hommes, des femmes et des enfants est relativement standardisé. Les personnes reposaient sur leur dos, allongées, dans une orientation ouest-est, la tête à l’ouest. Ce travail prend en considération la déviation de ce normatif aux cimetières datés entre le 10e et le 15e siècle. On examine critiquement l’évidence sur les individus orientés contrairement à la norme établie, sur ceux enterrés en position fœtale, sur les défunts jetés dans la fosse funéraire ou reposant sur leur ventre, visage tourné vers le sol. L’objectif de ce travail est d’ouvrir la question qui étaient ces gens privés de l’enterrement chrétien approprié et du traitement adéquat de leur corps dans la mort. L’étude part de la supposition qu’il y a une corrélation entre les personnes trouvées en position atypique dans le contexte funéraire et les personnes réprouvées, stigmatisées et marginalisées. Le travail se base théoriquement sur la compréhension de l’enterrement et du traitement du corps mort comme la rencontre de la communauté avec la perte sociale et avec le résultat additionnel indésirable de la mort - le cadavre. En plus, on étudie les manières de marginalisation et de la création des personnes marginalisées dans la société à travers l’impossibilité de l’enterrement adéquat et cela de perspectives différentes partant des idées de Robert Park, passant par Erving Goffman jusqu’à celles d’Elisa Perego. Peu importe que l’attention adéquate n’ait pas été attribuée au phénomène des personnes irrégulièrement enterrées dans l’archéologie médiévale serbe, l’analyse de l’évidence démontre qu’on peut avoir les contextes correspondant à ce type sur au moins 19 sites. Pour répondre plus précisément quelles parmi ces personnes peuvent être considérées comme marginales et pourquoi, il est nécessaire de faire des analyses physico-anthropologiques n’existant qu’en deux cas dans cette étude

This paper focuses on the development of the cult of the late 17th century icon of the Virgin with the Child, known as Joyful Lady of Bat. from its origins to the present day. Painted in the manner of late Byzantine art, and preserved in the Franciscan monastery of the Assumption of the Blessed Virgin in Bat, this Italo-Cretan icon was and still is highly venerated by local Slavic population of both Catholic and Orthodox denominations. At one point this icon also started to be venerated as the icon of Our Lady of Gradovrh, miraculous icon from the Franciscan monastery in Gradovrh near Tuzla in Bosnia. Through this case study, the paper aims at highlighting the fact that in the areas, where during many centuries population of both Catholic and Orthodox denominations lived together, the ways of veneration of holy images differed little among them in both form and essence.

In this paper ideas of literary anthropology that legitimize research of fiction work in socio-cultural anthropology are combined with the theories and methodologies of migration studies. Novels can be used as a source for understanding and interpreting certain phenomena from our socio-cultural reality and be an object of research. Therefore, this paper analyzes the novel Snowman (1996) by David Albahari from his so-called "Canadian Trilogy". It is his first novel after his emigration to Canada from Serbia in 1994. This paper aims to draw attention to the possibilities and potentials of anthropological analysis of Serbian literature that originated in Canada as one of the possible strands of literary anthropology. Is a prerequisite for successful integration of the first generation of immigrants good competence in the foreign language, a prestigious and wellpaid job, and higher education? The answer to this question can contribute to a better understanding of the fictional representation of migrants and be useful in anthropological studies of contemporary migrations. To test this hypothesis, we have juxtaposed the novel "Snow-man" with Albahari's collection of essays "Diaspora and other things" on the life of immigrants in Canada based on the author's personal experiences and experiences of his co-nationals in Canada, and working biography of the author. Furthermore, we test Robert Park's concept of the "marginal man". While researching American Jews, Park concluded that they are "men on the margin of the two cultures" and that "marginal men personality" is a "cultural hybrid", developed as a reaction to life in new surroundings. Finally, in the analysis section Milton Bennett's method "developmental model of intercultural sensitivity" is used. Bennett's model consists of six stages: denial, defense, minimization (first stage) and acculturation, adaptation, integration (second stage) and can be applied for the purpose of interpreting immigrants' experiences in a for

This paper offers an anthropological analysis of Bekim Sejranovie's last novel, The Diary of a Nomad, approaching it as the ethnography of the novelist's own migrant experience. The goal of the paper is, on the one hand, to answer the question how, in the process of constant movement between cultural boundaries, the identity of the author himself is being constructed and reconstructed, and how it is being shaped through the very process of writing. On the other hand, the paper looks at how the author imagines Norway, and thus potentially participates in the way in which a region is imagined in the context in which the reception of the novel takes place. Finally, it sheds light on the reasons why the author feels like a stranger in his "new/Scandinavian homeland", even though he has spent more than twenty years there and has Norwegian citizenship, how he perceives himself as being externally categorized as a stranger, why he self-identifies relationally as a non-Norwegian, and also why he strategically self-identifies as a Norwegian when this particular self-identification is to serve as a basis for building legitimacy for his criticism of Norwegian society.

In this paper we analyze the different ways in which COVID-19 is used as a carrier of cultural communication, whereupon it appears as a signifier of other socio-cultural phenomena and as a conveyer of messages of such communication. Accordingly, this paper will not observe health plan of COVID-19, nor the accompanying sociological phenomena of the epidemic in the strict sense of the word, but will focus instead on the cultural dimension of the infection. As a cultural phenomenon, the process of the planetary spread of COVID-19 infection - and hence the virus itself - can be viewed as an ambiguous symbol through which the collective experience of reality is constructed and communicated, perceived and interpreted. By relying on the decades-long tradition of Serbian ethnology and anthropology in the modified application of structural-semantic analysis, we define the use of COVID-19 as a symbolic means of cultural communication, here seen as indexical. This means that the said communication is organized on the principle that "A indicates B", where the signifying A refers to the metaphorical and metonymic use of the disease, and B refers to various social phenomena related to it. As a metonymy, the considered phenomenon can be seen in the light of the classical binary division of purity and danger, whereupon the virus, in the cultural sense, divides the whole social reality into pure (still unpolluted) and impure aspects, one corresponding to the "normal" condition of things, and the other indicating a sense of explicit danger - not only from infection, but from the collapse of the social system and the disintegration of public health and community as well. As a metaphor, we observe the virus in relation to the official political instrumentalization of the discourse of warfare, which - depending on who employs it, and why - generates different notions on the "invisible enemy", war victims (deceased as a consequence of infection) and "(super) heroes" (primarily, health wo

This paper aims to present a novel approach to map analysis, treating all 'map-like' drawings as icon-texts, according to premises postulated in modem cartographical theory by Brian Harley and his successors in this field. It is not just 'deconstructing' which takes place, but further interpretations are stimulated by probing questions not only of authorship (often unknown), but also of the social, cultural, and religious environment. Making an allegorical map and text was a difficult task, an intellectual endeavor, which demanded that the author carefully choose the symbols that would outlive the material. In this paper, the Fools Cap Map of the World is presented as an example of icono-textual analysis, by bringing together the most popular literary works and their illustrations - Erasmus Desiderius, Sebastian Brandt, and Hieronymus Bosch. The double masks of the author - the pseudonym "Epichtonius Cosmopolites", with its denunciation of nationality, and the jester's costume, were chosen as the means of conveying unpleasant truths about the state of the world, France, and/ or the Netherlands. Human hybris, Suberbia and Vanitas were the primal sins, by which they were all blinded, waging wars for pieces of land and worldly goods. Therefore, the fool's malade is melancholy, strictly reserved for male intellectuals - Ficino, Diirer, Shakespeare, Bright and Burton. On the other hand, it would seem as if the female primal sin were vanity, which brings the puritan Bunyan and Anglican Thackeray into this polyphonic interpretation. Their works did, however, show that"vanitas' is present among both genders and is an everlasting human trait, now heavily exploited as a 'cash crop' par excellence. Since all knowlegde is situated, I feel the need to say that I am finishing this paper in self-quarantine due to the 'new plague' pandemic, wondering if the people in this mad and greedy world would contemplate how all is nothing, and whether the survivors would be better, i.e. more

The paper analyzes through different historical periods in Indonesia the political instrumentalization of three prophetic narratives based on the prophecies of the medieval Javanese king Jayabaya, and looks at the ways in which millenniarist organizations and political activists have used the myths of the Savior and the Golden Age to achieve their own goals. The form of prophetic narratives has proved extremely productive in the process of channeling dissatisfaction and mobilizing for the purpose of political activism, and their interpretation does not only yield a clearer picture of the complex political situation and historical events, but also, through the actions of influential individuals, it provides insight into a number of other aspects of local culture, such as the forming of religious syncretism, the division of power in society or the cultural perception of time. The paper seeks to show that these prophecies do not aim to foretell future events, but rather serve as a means of ensuring the legitimacy of individuals in political struggles in the present time.

Miloje M. Vasic (1869-1956) is considered to be the founding father of Serbian archaeology. This paper directly challenges, as based on detailed archival research, the prevailing view that his excavation of the Vinca archaeological site is a model standard for Serbian archaeology. Instead, Vasic's handling of the excavation was selective, non-systematic and destructive when viewed today from the perspective of modern practices. Vasic originally gained authority based on the discovery of Vinca, a prehistoric archaeological site that contains layers from the Neolithic to the middle ages. In his zeal to uncover "prehistory", he deliberately ignored the other archaeological layers present. The most significant example of neglected archaeological remains is his excavations of Vinca's medieval cemetery where he did not document observations systematically. This prioritization of the importance of one archaeological period over another was reflected in the further development of archaeology in Serbia, so that medieval archaeology was treated as marginal and second-rate compared to others. The aim of this paper, therefore, is to contextualize Vasic's approach through the methods used in the history of archaeology. The key research question thereof is how Miloje M. Vasic failed to document the burials at the Vinca site, which is the consequent reason why there is little to no documented evidence of them. The theoretical and methodological basis of the analysis is based on the approach of Gavin Lucas who views the creation of the primary field documentation as testimony. Lucas notes that the debate concerning knowledge production had drifted from merely an epistemological issue to a phenomenon centered around archaeological practice. Here the key questions have come to concern the social and material setting of knowledge production and not the objective coherence of the argument. Burials that were noted in Vasic's documentation are categorized into four groups: 1) unwanted or

From the perspective of the anthropology of migrations and literature, the paper analyzes The Taxi Driver of Munchen, a novel with autobiographical elements by the Croatian author and gastarbeiter Romano Mrkic. After outlining the basic genre characteristics of "migrant literature" and the so-called gastarbeiter novel, the paper proceeds to analyze the dominant themes and motifs in the novel The Taxi Driver of Munchen. This work, written in the tradition of realist narration, deals with the immediate experience of migranthood and represents a prototype of the first-generation gastarbeiter novel. It is narrated from the perspective of a "guest worker" in Germany - through the character of the protagonist, the taxi driver Marko Mandic, Romano Mrkic writes about himself and his immigrant experience, about important Others and the complex modalities of migrant identity and (non)bclonging. In addition to depicting the everyday experience of the gastarbeiter in Germany and their struggle to integrate into a new and different social environment, and describing the native population's ethnic prejudice and stereotypes in relation to the guest workers, Mrkic speaks from an insider perspective of "Yugo-Germans'" "adversities" of identity. His characters remain perpetually stuck between "two worlds", between "here" and "there", and between the past and the present, while the "myth of return" expressed through an overemphatic nostalgia for the homeland is the foundation of Mrkio's narrative. Through a thematic analysis of the novel, the paper explores the ideas of integration and assimilation of guest workers, as well as the cultural meanings that the author assigns to these processes.

The vaccine is considered in academic, foremost medical, but also in political and public discourse as one of the greatest human achievements. Immunization has saved and is saving millions of lives around the world. However, from a historical perspective, immunization was always followed by more or less public resistance due to its alleged negative side-effects, such as outbursts of severe illnesses. A mandatory childhood vaccine against measles, mumps, and rubella (MMR) is part of the current controversy over the harmfulness of vaccines in Serbia. In view of the fact that the media is an important source for transmitting health messages and understanding health issues, the subject of this paper is the media presentation of MMR immunization in Serbia. How was the state health care narrative on MMR immunization presented in the Serbian daily press during the last two measles outbreaks in 2014-2015 and 2017-2018? By using the theoretical "text-context-hypertext" approcah to media content by Ljiljana Gavrilovic, Serbian broadsheets and daily papers, such as Blic, Kurir, Politika, Vecernje Novosti, from the period 2014-2020, are analyzed. The preliminary results show that the news that concurs with the 2014-15 measles epidemic differs greatly from the news during the 2017-18 epidemic. During the first period, the papers carried medical experts' advice on the benefits and importance of the MMR vaccine, criticizing (irrational and emotional) parents (mostly mothers) who do not vaccinate their children, in parallel with parental lay evidence on its harmfulness. From approximately 2017 anti-vaccination attitudes disappeared from the newspapers, even from the yellow press. This is concomitant with the new Law on the Protection of the Population against Communicable Diseases (2016), which penalizes anti-vaccination lobbying. In other words, instead of gaining public trust in the health sector and the state by presenting facts, offering dialogue with opponents and systematic e

In this paper ideas of literary anthropology that legitimize research of fiction work in socio-cultural anthropology are combined with the theories and methodologies of migration studies. Novels can be used as a source for understanding and interpreting certain phenomena from our socio-cultural reality and be an object of research. Therefore, this paper analyzes the novel Snowman (1996) by David Albahari from his so-called "Canadian Trilogy". It is his first novel after his emigration to Canada from Serbia in 1994. This paper aims to draw attention to the possibilities and potentials of anthropological analysis of Serbian literature that originated in Canada as one of the possible strands of literary anthropology. Is a prerequisite for successful integration of the first generation of immigrants good competence in the foreign language, a prestigious and wellpaid job, and higher education? The answer to this question can contribute to a better understanding of the fictional representation of migrants and be useful in anthropological studies of contemporary migrations. To test this hypothesis, we have juxtaposed the novel "Snow-man" with Albahari's collection of essays "Diaspora and other things" on the life of immigrants in Canada based on the author's personal experiences and experiences of his co-nationals in Canada, and working biography of the author. Furthermore, we test Robert Park's concept of the "marginal man". While researching American Jews, Park concluded that they are "men on the margin of the two cultures" and that "marginal men personality" is a "cultural hybrid", developed as a reaction to life in new surroundings. Finally, in the analysis section Milton Bennett's method "developmental model of intercultural sensitivity" is used. Bennett's model consists of six stages: denial, defense, minimization (first stage) and acculturation, adaptation, integration (second stage) and can be applied for the purpose of interpreting immigrants' experiences in a for

The vaccine is considered in academic, foremost medical, but also in political and public discourse as one of the greatest human achievements. Immunization has saved and is saving millions of lives around the world. However, from a historical perspective, immunization was always followed by more or less public resistance due to its alleged negative side-effects, such as outbursts of severe illnesses. A mandatory childhood vaccine against measles, mumps, and rubella (MMR) is part of the current controversy over the harmfulness of vaccines in Serbia. In view of the fact that the media is an important source for transmitting health messages and understanding health issues, the subject of this paper is the media presentation of MMR immunization in Serbia. How was the state health care narrative on MMR immunization presented in the Serbian daily press during the last two measles outbreaks in 2014-2015 and 2017-2018? By using the theoretical "text-context-hypertext" approcah to media content by Ljiljana Gavrilovic, Serbian broadsheets and daily papers, such as Blic, Kurir, Politika, Vecernje Novosti, from the period 2014-2020, are analyzed. The preliminary results show that the news that concurs with the 2014-15 measles epidemic differs greatly from the news during the 2017-18 epidemic. During the first period, the papers carried medical experts' advice on the benefits and importance of the MMR vaccine, criticizing (irrational and emotional) parents (mostly mothers) who do not vaccinate their children, in parallel with parental lay evidence on its harmfulness. From approximately 2017 anti-vaccination attitudes disappeared from the newspapers, even from the yellow press. This is concomitant with the new Law on the Protection of the Population against Communicable Diseases (2016), which penalizes anti-vaccination lobbying. In other words, instead of gaining public trust in the health sector and the state by presenting facts, offering dialogue with opponents and systematic e

In this paper we analyze the different ways in which COVID-19 is used as a carrier of cultural communication, whereupon it appears as a signifier of other socio-cultural phenomena and as a conveyer of messages of such communication. Accordingly, this paper will not observe health plan of COVID-19, nor the accompanying sociological phenomena of the epidemic in the strict sense of the word, but will focus instead on the cultural dimension of the infection. As a cultural phenomenon, the process of the planetary spread of COVID-19 infection - and hence the virus itself - can be viewed as an ambiguous symbol through which the collective experience of reality is constructed and communicated, perceived and interpreted. By relying on the decades-long tradition of Serbian ethnology and anthropology in the modified application of structural-semantic analysis, we define the use of COVID-19 as a symbolic means of cultural communication, here seen as indexical. This means that the said communication is organized on the principle that "A indicates B", where the signifying A refers to the metaphorical and metonymic use of the disease, and B refers to various social phenomena related to it. As a metonymy, the considered phenomenon can be seen in the light of the classical binary division of purity and danger, whereupon the virus, in the cultural sense, divides the whole social reality into pure (still unpolluted) and impure aspects, one corresponding to the "normal" condition of things, and the other indicating a sense of explicit danger - not only from infection, but from the collapse of the social system and the disintegration of public health and community as well. As a metaphor, we observe the virus in relation to the official political instrumentalization of the discourse of warfare, which - depending on who employs it, and why - generates different notions on the "invisible enemy", war victims (deceased as a consequence of infection) and "(super) heroes" (primarily, health wo

This paper offers an anthropological analysis of Bekim Sejranovie's last novel, The Diary of a Nomad, approaching it as the ethnography of the novelist's own migrant experience. The goal of the paper is, on the one hand, to answer the question how, in the process of constant movement between cultural boundaries, the identity of the author himself is being constructed and reconstructed, and how it is being shaped through the very process of writing. On the other hand, the paper looks at how the author imagines Norway, and thus potentially participates in the way in which a region is imagined in the context in which the reception of the novel takes place. Finally, it sheds light on the reasons why the author feels like a stranger in his "new/Scandinavian homeland", even though he has spent more than twenty years there and has Norwegian citizenship, how he perceives himself as being externally categorized as a stranger, why he self-identifies relationally as a non-Norwegian, and also why he strategically self-identifies as a Norwegian when this particular self-identification is to serve as a basis for building legitimacy for his criticism of Norwegian society.

From the perspective of the anthropology of migrations and literature, the paper analyzes The Taxi Driver of Munchen, a novel with autobiographical elements by the Croatian author and gastarbeiter Romano Mrkic. After outlining the basic genre characteristics of "migrant literature" and the so-called gastarbeiter novel, the paper proceeds to analyze the dominant themes and motifs in the novel The Taxi Driver of Munchen. This work, written in the tradition of realist narration, deals with the immediate experience of migranthood and represents a prototype of the first-generation gastarbeiter novel. It is narrated from the perspective of a "guest worker" in Germany - through the character of the protagonist, the taxi driver Marko Mandic, Romano Mrkic writes about himself and his immigrant experience, about important Others and the complex modalities of migrant identity and (non)bclonging. In addition to depicting the everyday experience of the gastarbeiter in Germany and their struggle to integrate into a new and different social environment, and describing the native population's ethnic prejudice and stereotypes in relation to the guest workers, Mrkic speaks from an insider perspective of "Yugo-Germans'" "adversities" of identity. His characters remain perpetually stuck between "two worlds", between "here" and "there", and between the past and the present, while the "myth of return" expressed through an overemphatic nostalgia for the homeland is the foundation of Mrkio's narrative. Through a thematic analysis of the novel, the paper explores the ideas of integration and assimilation of guest workers, as well as the cultural meanings that the author assigns to these processes.

This paper focuses on the development of the cult of the late 17th century icon of the Virgin with the Child, known as Joyful Lady of Bat. from its origins to the present day. Painted in the manner of late Byzantine art, and preserved in the Franciscan monastery of the Assumption of the Blessed Virgin in Bat, this Italo-Cretan icon was and still is highly venerated by local Slavic population of both Catholic and Orthodox denominations. At one point this icon also started to be venerated as the icon of Our Lady of Gradovrh, miraculous icon from the Franciscan monastery in Gradovrh near Tuzla in Bosnia. Through this case study, the paper aims at highlighting the fact that in the areas, where during many centuries population of both Catholic and Orthodox denominations lived together, the ways of veneration of holy images differed little among them in both form and essence.

Miloje M. Vasic (1869-1956) is considered to be the founding father of Serbian archaeology. This paper directly challenges, as based on detailed archival research, the prevailing view that his excavation of the Vinca archaeological site is a model standard for Serbian archaeology. Instead, Vasic's handling of the excavation was selective, non-systematic and destructive when viewed today from the perspective of modern practices. Vasic originally gained authority based on the discovery of Vinca, a prehistoric archaeological site that contains layers from the Neolithic to the middle ages. In his zeal to uncover "prehistory", he deliberately ignored the other archaeological layers present. The most significant example of neglected archaeological remains is his excavations of Vinca's medieval cemetery where he did not document observations systematically. This prioritization of the importance of one archaeological period over another was reflected in the further development of archaeology in Serbia, so that medieval archaeology was treated as marginal and second-rate compared to others. The aim of this paper, therefore, is to contextualize Vasic's approach through the methods used in the history of archaeology. The key research question thereof is how Miloje M. Vasic failed to document the burials at the Vinca site, which is the consequent reason why there is little to no documented evidence of them. The theoretical and methodological basis of the analysis is based on the approach of Gavin Lucas who views the creation of the primary field documentation as testimony. Lucas notes that the debate concerning knowledge production had drifted from merely an epistemological issue to a phenomenon centered around archaeological practice. Here the key questions have come to concern the social and material setting of knowledge production and not the objective coherence of the argument. Burials that were noted in Vasic's documentation are categorized into four groups: 1) unwanted or

The paper analyzes through different historical periods in Indonesia the political instrumentalization of three prophetic narratives based on the prophecies of the medieval Javanese king Jayabaya, and looks at the ways in which millenniarist organizations and political activists have used the myths of the Savior and the Golden Age to achieve their own goals. The form of prophetic narratives has proved extremely productive in the process of channeling dissatisfaction and mobilizing for the purpose of political activism, and their interpretation does not only yield a clearer picture of the complex political situation and historical events, but also, through the actions of influential individuals, it provides insight into a number of other aspects of local culture, such as the forming of religious syncretism, the division of power in society or the cultural perception of time. The paper seeks to show that these prophecies do not aim to foretell future events, but rather serve as a means of ensuring the legitimacy of individuals in political struggles in the present time.

This paper aims to present a novel approach to map analysis, treating all 'map-like' drawings as icon-texts, according to premises postulated in modem cartographical theory by Brian Harley and his successors in this field. It is not just 'deconstructing' which takes place, but further interpretations are stimulated by probing questions not only of authorship (often unknown), but also of the social, cultural, and religious environment. Making an allegorical map and text was a difficult task, an intellectual endeavor, which demanded that the author carefully choose the symbols that would outlive the material. In this paper, the Fools Cap Map of the World is presented as an example of icono-textual analysis, by bringing together the most popular literary works and their illustrations - Erasmus Desiderius, Sebastian Brandt, and Hieronymus Bosch. The double masks of the author - the pseudonym "Epichtonius Cosmopolites", with its denunciation of nationality, and the jester's costume, were chosen as the means of conveying unpleasant truths about the state of the world, France, and/ or the Netherlands. Human hybris, Suberbia and Vanitas were the primal sins, by which they were all blinded, waging wars for pieces of land and worldly goods. Therefore, the fool's malade is melancholy, strictly reserved for male intellectuals - Ficino, Diirer, Shakespeare, Bright and Burton. On the other hand, it would seem as if the female primal sin were vanity, which brings the puritan Bunyan and Anglican Thackeray into this polyphonic interpretation. Their works did, however, show that"vanitas' is present among both genders and is an everlasting human trait, now heavily exploited as a 'cash crop' par excellence. Since all knowlegde is situated, I feel the need to say that I am finishing this paper in self-quarantine due to the 'new plague' pandemic, wondering if the people in this mad and greedy world would contemplate how all is nothing, and whether the survivors would be better, i.e. more

Transfer from social to semantic web brought us to an era of algorithmic society, placing issues such as privacy, big data and AI in the spotlight. although neutral by their nature, the power of big data algorithms to impact societies became major concern outcoming with fines issued to Facebook in the US. These events were initiated by alleged breaches of data privacy connected to recommender system technology, which can provide individualized content to internet users. This paper seeks to explain recommender systems, while elaborating on their social effects, to conclude that their overall impacts might be increase in retail sales, democratization of advertising, increase in internet addictions, social polarization (echo chamber issue), and improvement of political communication. Also, more research should be deployed into low intensity addictions, as potential outcome of recommender systems, and it should be explored how they affect political participation and democracy.

Društvena nejednakost prepoznata je kao problem današnjice, aproučavanje korena i mehanizama nastanka društvene nejednakosti predstavlja jedanod velikih izazova savremene arheologije. Kasni neolit centralnog Balkana (5300–4500god. p.n.e.) ima poseban značaj za proučavanje društvene nejednakosti u evropskojpraistoriji, jer je to period u kome ljudi počinju da žive u velikim naseljima, a arheološkije dokumentovano i prisustvo potencijalnih markera prestiža i statusa. Postavlja sepitanje da li je u ovim društvima došlo do razvoja nejednakosti, u kom obliku i u komstepenu? Cilj rada je da se na osnovu novih podataka o stambenim objektima sa trikasnoneolitska lokaliteta na teritoriji Srbije kvantifikuje stepen nejednakosti izmeđudomaćinstava. Dobijeni rezultati će biti kritički ocenjeni i kontekstualizovani u širemokviru proučavanja društvene nejednakosti u VI i V milenijumu p.n.e. na područjujugoistočne Evrope., The social inequality represents one of the major problems of the contemporary world and an important anthropological subject. The transition to agriculture is often viewed as an important turning point for the development of social inequality in (pre)history. For this reason, the study of the social inequality in the Neolithic communities is of particular importance for the understanding of the origins and the development of this phenomenon. This paper represents an empirical contribution to the study of social inequality in the Late Neolithic in the Central Balkans (5300-4500 BCE). The aim is to quanitfy and estimate the levels of inequality between households in three Late Neolithic settlements: Belovode, Pločnik, and Drenovac. In line with the current methods for the estimation of social inequality from archaeological remains, this study relies on the house floor area as a proxy for household wealth. The house floor area measurements are based on the geophysical surveys data published in the literature with around 1000 house floor area measurements available for the analysis. The Gini index is calculated for each site based in the distribution of house floor area. The results suggest that the social inequality on all three sites was relatively low, as the Gini values range from 0.18 to 0.22. These values fit well with the Gini estimates based on the previous research of the social inequality in the Neolithic and Eneolithic period in the Central Balkans. When compared to the cross-cultural variation based on the ethnographic, historical and archaeological sources from the literature, these values are low compared to other horticultural and agricultural communities. One potential explanation for such low values is that the agricultural production in the Late Neolithic of the Central Balkans was labor-limited rather than land-limited, which usually results in the low potential for social inequality, as hypothesized and shown by Bogaard et al. (2019). On the other h

U ovom radu je analizirana mini-serija Netfliks produkcije Upravnica (The Chair) iz 2021. godine, dramedija čije su autorke nastojale da ponude „verodostojan” prikaz, a time i kulturnu kritiku, funkcionisanja savremenog američkog univerziteta i visokog obrazovanja. U ovoj seriji se, između ostalog, obrađuju društveno značajne i aktuelne teme poput pitanja rasne, rodne, dobne i klasne (ne)ravnopravnosti u akademskom okruženju i širem društvu, problem krize humanistike, pitanje političke korektnosti i fenomena tzv. „kulture otkazivanja” i mnoga druga. Serija Upravnica je analizirana na dva nivoa, s jedne strane kao tekst – na nivou poruka koje šalje, i s druge strane na osnovu opštih reakcija akademske i šire javnosti koje je pobudila. U tom smislu, recepcija publike se posmatra kao neka vrsta korektiva koji nastoji da potvrdi ili opovrgne određene poruke koje serija šalje i na taj način nam daje potpuniju predstavu o njima., This paper offers an analysis of the 2021 Netflix mini-series The Chair, a dramedy whose authors sought to give an “authentic” depiction, but also a cul-tural critique, of the functioning of a contemporary US university and US higher education. The series includes four important elements of higher education – the institution of the university, its administration, university staff (professors/lecturers), and the student population; due to the format of the series, however, these elements have not been given equal attention. Furthermore, through the story of a woman of color at a university who suddenly finds herself in the posi-tion of department chair, this six-part mini-series addresses and/or elaborates on a whole set of messages and issues with which the wider audience can identify – an audience interested in questions regarding universities, the humanities, and wider social issues such as gender, race, age and class (in)equalities in academia, and also in western society more generally (particularly in the USA), the prob-lem of a crisis in the humanities, of neoliberalism at universities, the question of political correctness and the phenomenon of so-called cancel culture. The series is viewed both as a text and as a popular culture artifact, that is, as a product that meets certain societal needs (besides the need for mere entertainment), depicts real-life social relationships and transmits certain values, i.e., conveys a certain message. The series can also be seen as an educational text which can acquaint viewers with the purpose, values and people who work in academia, particularly in the humanities. In order to consider its various meanings more comprehen-sively, the series has been analyzed on two levels: the connotative and the deno-tative. The intersection of these two levels of analysis provides a fuller, clearer picture of the importance of the series as a work of pop culture which seeks to offer a cultural critique, and which has elicited a wide range

Transfer from social to semantic web brought us to an era of algorithmic society, placing issues such as privacy, big data and AI in the spotlight. although neutral by their nature, the power of big data algorithms to impact societies became major concern outcoming with fines issued to Facebook in the US. These events were initiated by alleged breaches of data privacy connected to recommender system technology, which can provide individualized content to internet users. This paper seeks to explain recommender systems, while elaborating on their social effects, to conclude that their overall impacts might be increase in retail sales, democratization of advertising, increase in internet addictions, social polarization (echo chamber issue), and improvement of political communication. Also, more research should be deployed into low intensity addictions, as potential outcome of recommender systems, and it should be explored how they affect political participation and democracy.

The same year that UNESCO adopted the Convention for the Protection of the Intangible Cultural Heritage, the Republic of Serbia became a member of the Council of Europe. The protection of the intangible and cultural heritage in the Republic of Serbia is done according to the regulations of these two institutions. This paper is based on a comparative analysis of two (for intangible) cultural heritage, the most important documents of individual institutions: the 2003 UNESCO Convention on the Safeguarding of the Intangible Cultural Heritage of Humanity and the 2005 Council of Europe Framework Convention on the Value of Cultural Heritage for Society. The aim of the paper is to compare the cultural conceptions of UNESCO and the Council of Europe, and to show whether there are differences in the cultural policies of one global and one European institution in this field.

The subject of this paper is a thematic analysis of a bilingual collection of poems by Drago Trumbetas entitled "Poems of guest-workers" ("Gastarbeiter-Gedichte"). The poems in this collection were written during his stay in FR Germany from 1969 to 1980. Drago Trumbetas (1937-2018) was a versatile Croatian self-taught artist and a member of the first wave of Yugoslav economic migrants who went to "temporary" work in the developed countries of Western Europe in the 1960s. During his stay in FR Germany, Trumbetas worked various low paid physical jobs and his artistic expression was strongly imbued with personal migrant experiences. Almost all artistic work of Trumbetas (series of drawings, novels, plays and poetry) is devoted to depicting the life of Yugoslav gastarbeiters. After determining the prevailing topics on the collection of poems, an analysis of their meaning will be undertaken through the anthropological, sociological and historical literature on the phenomenon of "temporary workers abroad". Poetry of Trumbetas has been interpreted in the broader context of the "migrant poetry" development in FR Germany since the 1970s. Particular attention will be paid to analyzing the ways of poetic self-representation of migrant workers, the ways of articulating identity through poetry in a new and different cultural and social environment respectively. The problem of using literary texts written in the first person, which are therefore shaped by the subjective aspirations of individual authors, as relevant sources in ethnological and anthropological studies of migration is problematized in this paper.

The paper offers an analysis and. description of the scenes of heavenly visions in the art of Byzantium and medieval Serbia. The analysis of the scenes in which they appear, the iconographic features of heavenly luminaries, the specific contexts and the reasons for their depiction are discussed in the present paper. The author especially refers to two frescoes with the representations of the heavenly luminaries, the Sun and the Moon, in the painting of the church of St. Nicholas in the village of Pelinovo in Grbalj, Montenegro (1716/1717; ill. 1-4). Although the appearance of the celestial luminaries, their dimensions and placement in the iconographic program of the church as well as the reasons for their depiction are unique in Serbian painting done in the Byzantine tradition, to this day, the luminaries from Pelinovo did not represent the subject of the scientific research. For these reasons, this paper is dedicated to the above-mentioned issues. In the church of St. Nicholas in Pelinovo, the Moon is depicted en face, in a form of a large yellow sphere with large eyes and nose (ill. 2), without radial rays, while the Sun is portrayed in the same manner, in red color in a form of a fiery globe (ill. 1). The inscription next to the representation of the Sun is destroyed, while the Moon is marked as "Luna" in the Serbian redaction of Old-Slavonic. The Sun is shown as great luminary, and the Moon as a small luminary, according to the biblical narrative (Genesis 1: 16). The heavenly aspect of the luminaries is determined by their depiction in the upper part fo the scene - on the blue ground, which symbolizes the sky as well as with their perfect spherical shape. As the figures of the Virgin, of Christ and of St. John the Forerunner in Pelinovo form a Deeisis, it is noticed that the heavenly luminaries are depicted in the scope of that composition (ill. 3-5). Therefore, the history of showing the Sun and the Moon in the Deesis scenes is considered in the paper. Apart fr

The subject of this paper is the ethnographic mapping of the origins of the new alternative scene, based on turbo-folk. Mainly located in Belgrade, this alternative scene has been swindling, over the last couple of years, as the circle of artists ('Mangulica FM, Lenhart Tapes, Mega Denke, Gianni Druid, Bombe Devedesetih and others), who freely combine turbo-folk genre with other music forms (electronic music, rap and others) to fulfill modern audience needs. In this research, we will rely on the standpoint that the term "turbo-folk" is not only a tool for music genre's description, but also a value connotated "floating signifier", which pumps its content from the certain community's symbolic repertoire. Turbo-folk showed its symbolic strength in the academic and non-academic discourse, as a tool for cultural switching on/switching off during the last decade of the twentieth century and the first decade of the twenty-first century, when it was instrumentalised as the constitutive otherness of "urban" ("elite", "civilised", "educated", "cosmopolitan") population. The basic assumption of this paper is that the disagreement about classifications, the focus of which is turbo-folk, is rehabilitated, recontextualized and revaluated. In this study, we will re-examine the hypothesis saying that the new alternative scene, which is the subject of this research, endeavours to instrumentalise turbo-folk as an arbor of "urban elite's" cultural critique, its authority and legitimacy of its classification categories.

The paper offers an analysis and. description of the scenes of heavenly visions in the art of Byzantium and medieval Serbia. The analysis of the scenes in which they appear, the iconographic features of heavenly luminaries, the specific contexts and the reasons for their depiction are discussed in the present paper. The author especially refers to two frescoes with the representations of the heavenly luminaries, the Sun and the Moon, in the painting of the church of St. Nicholas in the village of Pelinovo in Grbalj, Montenegro (1716/1717; ill. 1-4). Although the appearance of the celestial luminaries, their dimensions and placement in the iconographic program of the church as well as the reasons for their depiction are unique in Serbian painting done in the Byzantine tradition, to this day, the luminaries from Pelinovo did not represent the subject of the scientific research. For these reasons, this paper is dedicated to the above-mentioned issues. In the church of St. Nicholas in Pelinovo, the Moon is depicted en face, in a form of a large yellow sphere with large eyes and nose (ill. 2), without radial rays, while the Sun is portrayed in the same manner, in red color in a form of a fiery globe (ill. 1). The inscription next to the representation of the Sun is destroyed, while the Moon is marked as "Luna" in the Serbian redaction of Old-Slavonic. The Sun is shown as great luminary, and the Moon as a small luminary, according to the biblical narrative (Genesis 1: 16). The heavenly aspect of the luminaries is determined by their depiction in the upper part fo the scene - on the blue ground, which symbolizes the sky as well as with their perfect spherical shape. As the figures of the Virgin, of Christ and of St. John the Forerunner in Pelinovo form a Deeisis, it is noticed that the heavenly luminaries are depicted in the scope of that composition (ill. 3-5). Therefore, the history of showing the Sun and the Moon in the Deesis scenes is considered in the paper. Apart fr

The subject of this paper is a thematic analysis of a bilingual collection of poems by Drago Trumbetas entitled "Poems of guest-workers" ("Gastarbeiter-Gedichte"). The poems in this collection were written during his stay in FR Germany from 1969 to 1980. Drago Trumbetas (1937-2018) was a versatile Croatian self-taught artist and a member of the first wave of Yugoslav economic migrants who went to "temporary" work in the developed countries of Western Europe in the 1960s. During his stay in FR Germany, Trumbetas worked various low paid physical jobs and his artistic expression was strongly imbued with personal migrant experiences. Almost all artistic work of Trumbetas (series of drawings, novels, plays and poetry) is devoted to depicting the life of Yugoslav gastarbeiters. After determining the prevailing topics on the collection of poems, an analysis of their meaning will be undertaken through the anthropological, sociological and historical literature on the phenomenon of "temporary workers abroad". Poetry of Trumbetas has been interpreted in the broader context of the "migrant poetry" development in FR Germany since the 1970s. Particular attention will be paid to analyzing the ways of poetic self-representation of migrant workers, the ways of articulating identity through poetry in a new and different cultural and social environment respectively. The problem of using literary texts written in the first person, which are therefore shaped by the subjective aspirations of individual authors, as relevant sources in ethnological and anthropological studies of migration is problematized in this paper.

The same year that UNESCO adopted the Convention for the Protection of the Intangible Cultural Heritage, the Republic of Serbia became a member of the Council of Europe. The protection of the intangible and cultural heritage in the Republic of Serbia is done according to the regulations of these two institutions. This paper is based on a comparative analysis of two (for intangible) cultural heritage, the most important documents of individual institutions: the 2003 UNESCO Convention on the Safeguarding of the Intangible Cultural Heritage of Humanity and the 2005 Council of Europe Framework Convention on the Value of Cultural Heritage for Society. The aim of the paper is to compare the cultural conceptions of UNESCO and the Council of Europe, and to show whether there are differences in the cultural policies of one global and one European institution in this field.

The subject of this paper is the ethnographic mapping of the origins of the new alternative scene, based on turbo-folk. Mainly located in Belgrade, this alternative scene has been swindling, over the last couple of years, as the circle of artists ('Mangulica FM, Lenhart Tapes, Mega Denke, Gianni Druid, Bombe Devedesetih and others), who freely combine turbo-folk genre with other music forms (electronic music, rap and others) to fulfill modern audience needs. In this research, we will rely on the standpoint that the term "turbo-folk" is not only a tool for music genre's description, but also a value connotated "floating signifier", which pumps its content from the certain community's symbolic repertoire. Turbo-folk showed its symbolic strength in the academic and non-academic discourse, as a tool for cultural switching on/switching off during the last decade of the twentieth century and the first decade of the twenty-first century, when it was instrumentalised as the constitutive otherness of "urban" ("elite", "civilised", "educated", "cosmopolitan") population. The basic assumption of this paper is that the disagreement about classifications, the focus of which is turbo-folk, is rehabilitated, recontextualized and revaluated. In this study, we will re-examine the hypothesis saying that the new alternative scene, which is the subject of this research, endeavours to instrumentalise turbo-folk as an arbor of "urban elite's" cultural critique, its authority and legitimacy of its classification categories.

The paper seeks to show that criticisms directed at the expense of the concept of culture from the sixties, and especially the eighties of the twentieth century, only but re-actualized the dispute present in the discipline at least from the end of the second decade of the twentieth century between two sides. On the one hand, we have those anthropologists who perceived culture as (a) homogeneous, static, closed, holistic, sui generis system that, in the ontological sense, "exists" outside and above individuals, and determines their thinking and actions by anticipating them, and which "represents" in a monographic study, and in a methodological sense, explains the totality of life, beliefs and behavior of its members. On the other hand, there are anthropologists who perceived culture as (b) in the ontological sense "nonexistent", fragmentary, heterogeneous, variable set of actions of numerous individuals struggling to create, interpret or legitimize its rules, and whose disagreements, in a methodological sense, are taken as the starting point of the culture's explanation, understood as an aggregate of numerous individuals' work and their unintended consequences. The aim of the paper is to contextualize the Individualism-Holism Dispute into the Enlightenment and Counter-Enlightenment dispute, and answer the question why rationalists, agents of transcultural commensurability and advocates of universally applicable, cosmopolitan anthropological science, when writing "against culture," refer to the defense of Enlightenment from Counter-Enlightenment.

This paper focuses on the analysis of a very peculiar relationship of the last commander of the Belgrade fortress Ali Riza-Pasha towards the social and cultural life of the Serbian capital. Having in mind that the relations between the Serbs and Turks at the time were very specific, this pasha decided to break with the shackles of the past and became the first pasha up until that time to get himself fully immersed in the Serbian social life. He personally participated in numerous festivities, while his wife Meyra became known as the first wife of a pasha to organize parlour receptions for women from the upper echelons of the Serbian society at the time. Her oriental-themed salons left a deep mark on the society of the Serbian capital. Our goal in this paper is to present a folkloric and cultural dimension of the life of a Turkish pasha, but also the life at court by showing the activities of his wife.

In this paper theoretical concepts and paradigms through which and within which the challenges, ambiguities, contradictions of the interdisciplinary nature of contemporary participative and collaborative artistic practices, are recognized and explained, will be analyzed on the example of the artist Tanja Ostojic's project named Leksikon Tanja Ostojic, started in 2011. Participatory or collaborative artworks are almost always realized through various nonartistic practices, likely on the boundary of political or social engagement, and often in the absence of standard artistic practices, media, materials, expressions, even without any visual character. These artworks are being generated and constructed by different situations in response to specific contexts. Their already conventional structure, beside artists, implies the involvement of the public sphere and its subjects, the establishment of a close relationship with the existing or newly established social group in a certain period. The method on which these modern participatory art practices rely on is certainly cooperation. The third key element of participative and collaborative practices is a social problem that becomes 'material' for work. Therefore, in this paper functions and meanings of artists and the community in colabrative and participative artistic practices will be considered, on the basis of an interdisciplinary approach to contemporary art history, as well as on the basis of current debates within contemporary art studies.