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In post-conflict societies internal demarcation is based on tradition, religion, and heterosexual family values and within this frame sexual citizenship is considered “as ideology” and as a threat to society imposed from outside. At the same time the influence and importance of international norms and changes in the standard of international politics and the emerging culture of human rights cause conflict between inside and outside, national sovereignty and universal human rights. This conflict is not specific only to stabilocracy and hybrid systems, but the omnipresent illogicality of a closed system of citizen-ship. Following the Butler’s observation that “conjuncture of street and media constitutes a very contemporary version of the public sphere” (2011: 9), media textual and visual reports about Pride Parade in Belgrade and Sarajevo were analysed. In the analysis focus is on the borders of citizenship within the patriarchal matrix of nation-state confronted with the present bodies on the streets. The analysed textual and visual media reports confirm a hierarchisation of urban public space formed by national history and its material structures.

The fast way of life, the intensive flow of information and the comprehensive connection of people and capital with the global market and modern technologies lead to the questioning of the traditional definitions of the concepts of space, place and time in the social sciences, which at the same time makes the classical theories of migration questionable. The issue of “methodological nationalism” has long been discussed and criticized in the literature, as well as Eurocentrism, the dominance of the economic perspective and gender imbalance, recognized as stumbling points in migration research. The main criticisms of classical theories of migration are presented in the paper, as well as new approaches that are born from the attempt to understand the changes brought about by modern society and to overcome the set stumbling points. [ABSTRACT FROM AUTHOR]

The paper illustrates how a cultural product, first in the form of a novel and later as a cult status movie, triggers significant social reactions and polemics. Even though artworks can be abused, they acquire their value precisely through the ability to thematize sensitive topics and initiate social debates. There are different perspectives and interpretations of Fight Club, both of the novel and of the movie. In this paper, the main focus is the gender dimension, ie. the interpretation placing in foreground the discussion on the influence and consequences of hegemonic masculinity and patriarchy, where men are paradoxically suffering and imposing it at the same time. This paradox is leading to men being abusers, as well as accomplices and victims at the same time, which is portrayed very skilfully in the novel and in the movie. The movie opens space for discussions and reflections on gender issues, such as the crisis of traditional conceptions of masculinity in the postindustrial society, the relationship towards the “other” and the toxic responses to crisis. [ABSTRACT FROM AUTHOR]