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„Axis & Allies“, što znači „Sile Osovine i Saveznici“, jeste društvena igra na tabli čija početna pozicija simulira situaciju u svetu u proleće 1942. godine. Igru mogu igrati od dva do pet igrača, koji rukovode strateškim, vojnim i ekonomskim resursima SSSR-a, Nemačke, Velike Britanije, Japana i SAD. Cilj igre za Saveznike jeste da osvoje jedan od dva glavna grada sila Osovine, a za njihove protivnike da ostvare ekonomsku premoć nad Saveznicima. Tabla na kojoj se igra odgovara dvodimenzinalnoj geopolitičkoj projekciji naše planete, što će reći da je izdeljena na teritorije i akvatorije oko kojih se bore učesnici u igri. Dati simulakrumi fizičkog prostora apstrahovani su tako da imaju svoju ekonomsku vrednost (teritorije), koja sa svoje strane odgovara njihovoj proizvodnoj moći, odnosno tome koliko vojnih jedinica mogu proizvesti ili koliko novčanih jedinica (izraženih u bilionima dolara) – koje se opet koriste za proizvodnju vojnih jedinica – zarađuje država koja ih poseduje. Igra „Axis & Allies“ razmatra se kao svojevrsno kulturno kognitivo sažimanje stvarnosti: uobličena je na povesnom iskustvu i znanjima povezanim najpre sa strateškim i taktičkim vođenjem konkretnog oružanog sukoba, kao i upotrebu privrednih resursa i značaj kontrolisanja fizičkog prostora u date svrhe, te narativnom post-hoc hijerarhijskom vrednovanju značaja pojedinačnih događaja u ratu za njegov ishod; uz sve to, igra omogućava i simulacije različitih ishoda Drugog svetskog rata, tako da „Axis & Allies“ funkcioniše kao kulturni kognitivni model fizičke stvarnosti, povesnih znanja o njoj i njenog diskurzivnog konstruisanja., “Axis & Allies” is a board game depicting a spring 1942 political map of earth. There may be two to five players in charge of strategic, military and economic resources of the USSR, Germany, Great Britain, Japan and the USA. The Allies’ objective is to capture one of the two main cities of the Axis powers, which, in turn, aim to gain economic dominance over the Allies. The playing board corresponds to the two-dimensional geopolitical projection of our planet, i.e. it is divided into territories and aquatories over which participants fight. The given simulacra of the physical space are abstracted in such way that they have their economic value (territories), which is commensurate with their production power, i.e. the amount of military units they can produce or the amount of monetary units (expressed in billions of dollars) – used for the production of military units – earned by the country in their possession. The “Axis & Allies” is examined as a cultural cognitive contraction of reality: it is shaped by historical experience and knowledge primarily about strategic and tactical pursuance of a concrete armed conflict, and the use of natural resources and importance of controlling the physical space for the given purposes, including the narrative post-hoc hierarchical valuation of importance of individual events in the war for its outcome. Along with all this, the game enables simulations of different outcomes of World War II, i.e. it functions as a cultural, cognitive model of physical reality, historical knowledge about it and its discursive construction.

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 vampire in Serbian traditional culture and the vampire in popular culture are two different beings. The former is virtually identical to people in his community, does not undergo a change of character after death, and getting rid of him is the task of the whole community. He is linked to his socio-cultural environment and his existence is not linked to physiological needs and possibilities, but is circumscribed by the ability of the living members of his community to oppose him. The latter is a distinct being with supernatural abilities, whose character changes after death in the sense that he becomes a predator, a physical and ontological threat to man, and can be opposed by those who know his characteristics and weaknesses. He is not territorially restricted in his actions, but from the author's point of view he is always depicted as an interloper. He is a simulation of man insofar as he has to sustain himself in the afterlife by feeding himself, and has the ability to reproduce, i.e. to produce new beings of his kind. They have the following in common: 1) they continue to exist after death in their own physical body; 2) they are representations of the revived dead body of a concrete person, whose behavior has in the case of both models been altered precisely to the extent that this alteration can be ascribed to the notion of physical existence after death. The given malevolence, as the fundamental characteristic of the vampire's relationship to people, in both cases stems more from the meaning of the existence of these models than from a concept of an afterlife, that is, from the need to resolve the internal problems of the traditional community conceived as the local environment, and the need for self-determination towards that which is different, alien and foreign in societies of the new type, based on transcending socio-cultural locality and establishing global cultural communication.

Komunikacioni sistem koji ima dominantnu ulogu u semantičkoj komponenti dizajna omota gramofonske ploče je vizuelna komunikacija. Istraživanje načina na koji ljudi konstruišu, prenose i primaju poruke kao i sa kojim ciljem to čine, kroz primenu fotografije na svakodnevne predmete postaje predmet interesovanja i vizuelne antropologije i oblasti dizajna. Vizuelna antropologija, kroz etnografske, semiotičke i sociološke metode, može da objasni kako se odvija komunikacija kroz vizuelne prikaze na predmetima ali i kako se menja status predmeta u okviru kulture pod uticajem vizuelnih prikaza odnosno fotografija i na taj način omogući bolje razumevanje zbog čega određeni predmeti mogu da promene status – od običnog komercijalnog artefakta ka kulturološkom objektu. Među mnoštvom svakodnevnih upotrebnih predmeta koji su rezultat različitih dizajnerskih metodologija, gramofonska ploča se izdvaja kao specifičan predmet koji se smatra kulturnim artefaktom i koji je, iako industrijski proizvod, predmet mnogih kolekcija. Interesantan fenomen je i skorija obnovljena popularnost gramofonske ploče. Ove dve specifičnosti su bile povod za istraživanje vizuelnog aspekta – fotografije na omotima muzičkih albuma. Retorika fotografije aplicirane na predmet za svakodnevnu upotrebu, može da pruži uvid u komunikacione ciljeve i koncepte koje autori ovakvih predmeta imaju. Primenjena je metoda utemeljene teorije kako bi se dobile empirijski zasnovane teorije o ciljevima komunikacije na korpusu od 1019 omota kako bi se napravila što pouzdanija i obuhvatnija kategorizacija poruka koncipiranih kroz fotografije na omotima muzičkih albuma. Kroz utemeljenu teoriju je utvrđena funkcija omota i fotografije u kreiranju aure kulturološkog artefakta kod industrijski proizvedenog predmeta. Semiotičke studije slučaja na odabranim omotima, primenjene su kako bi se izložila kompleksna retorička struktura fotografije aplicirane na omot gramofonske ploče i predložio okvir za buduće semiotičke studije na polju, Visual communication has a dominant role in the semantic component of record cover design. Visual anthropology and anthropology of design are concerned with the way people construct, transmit and receive messages and the goals they have when they communicate through photography applied on everyday objects. Using the ethnographic, semiotic and social approach, visual anthropology can explain how people communicate trough images applied on artifacts, and how some objects change their status from common commercial artifacts to cultural objects. Among the many items in everyday use that originate from different design methodologies, the vinyl record stands out as a specific item that is considered a cultural artifact and, although an industrial product, is the subject of many collections. A recent, interesting phenomenon is the renewed popularity of gramophone records. These two features were the reason behind exploring this particular visual aspect – photos on the sleeves of music albums. The rhetoric of photography applied to an object of everyday use can provide insight into the communication goals and concepts that the authors of such objects have. Grounded theory was applied on a corpus of 1019 gramophone record covers in order to derive empirically based theories on the goals of communication, and to categorize the messages conceived through photographs on the covers of music albums in a reliable and comprehensive manner. Through grounded theory, the function of the record cover in creating the aura of a cultural artifact in an industrially produced object has been established. Semiotic case studies on selected record covers aim to expose the complex rhetorical structure of photography applied on a record cover, and to propose a framework for future semiotic studies in the design of everyday objects

The situation caused by the appearance of Covid-19 can be viewed as a critical event: typologically, it is an unprecedented event, which requires and shapes new forms of historical action hitherto unknown in the given context. Critical events serve as strong value and emotional landmarks in the cultural cognition of each social environment, and form the basis for a meaningful determination towards other events. Using material collected primarily from the online versions of electronic and printed media, we consider how the reality they presented is shaped through the news through the statements of politicians and medical doctors in Serbia. We trace how the narrative transformation of socio-cultural reality took place from the time before the of Covid-19 outbreak in our country to the time immediately after the lifting of the state of emergency declared due to that infection. The premise of all that is being done to tackle the infection is not a purpose in itself, but aims to enable a return to the life we were accustomed to before the outbreak of the epidemic. Covid-19 destabilizes our everyday life - a life that consists of work or study, use of free time, socializing etc. Such everyday life is a reference point of "normalcy". Socio-cultural normalcy refers to all that is understood as a normal and undisturbed course of everyday life. The appearance of Covid-19 gave rise to the notion of the "new normal", that is, a course of everyday life that is similar to normal, ordinary life, but with adherence to measures aimed at preventing the spread of infection by the authorities. In the paper we deal with the period that begins just before the outbreak of Covid-19 in our country, and ends with the period after the lifting of the state of emergency, to show the discursively produced picture of social reality in which the concept of the "new normal" serves as a cultural cognitive tool for understanding a situation in which one has to live with Covid-19 in order to one day b

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

What makes a place haunted is the narrative of its ghosts: the curse of the place is expressed through the hauntings of that place by the ghosts of the people who died there. Ghosts are an expression of negative transgression, that is, a violation of social norms and cultural values that leads to the moral destabilization of the community: haunted places arc places of tragedy, of deaths caused by violence and negligence. The basic features of haunted places in the US are liminality, the historical experience of what happened there, and the fact that they represent the boundary between the everyday and the impossible. The crossing of the existential boundaries by ghosts is analogous to negative transgression in social behavior. The liminality of ghosts thus corresponds to the liminality of haunted places in spatial, existential, ontological and moral terms. They appear as a kind of propaedeutic device in cultural communication, for the atrocities of their stories address what is good and bad according to the norms of cultural thought, and what is proper and improper in social behavior. Several different types of places are featured in this discussion: private ones, like dwelling places, as well as numerous public places, including a public library, a quarry, a public park, a village lane, a teahouse, the site of one of the best-known battles in United States history, a former correction facility, a beech etc, across the entire country: Atchison, Kansas; New Orleans, Fort Leavenworth and plantations in Louisiana; Peoria, Illinois; Reelsville, Indiana; Little Bighorn, Montana; Washington DC; New York City; the San Francisco Bay area; Philadelphia, Pennsylvania; Portage County, Wisconsin; Baton Rouge, Louisiana; Forester, Michigan; Cape May, New Jersey; Tucson, Arizona; Mason, Ohio.

Cilj doktorskog rada jeste da se lociraju, analiziraju i opišu osnovne karakteristike u stavovima prema homoseksualnim zajednicama...

Three aspects of cultural communication of Stephen King's "The Dark Tower" book series are discussed in this paper: a literary tradition, a literary genre, and a cultural message. Narrative motives are established as a mean of connection of this book series with some of the classic works of English and European literature, and the whole series is fashioned according to the literary form of the (folk or fairy) tale. The purpose of this is to refer to the idea that a given book series should be viewed as part of English literature and of the English literary tradition. The tale form is used as a mean of categorizing the literary form within a given literary tradition. The third aspect in which the series communicates is the social context in which it was created, and it establishes parallels between states of social stability and instability, order and chaos, wholeness and breakup in the two basic worlds in which the series' action takes place: in our world and in that of the principle protagonist. It aims to emphasize the responsibility of the individual for the functioning of society, since society represents a consensual community of individuals.

One of the most famous enterprises within the British search for the so-called Northwest Passage in the nineteenth century, the Franklin expedition, was described in the novel "Terror" (2007) by American writer Dan Simmons, as well as in the TV series based on the book (2018) of the same name. What the expedition became known for was its disappearance in the Arctic wastelands despite - for its time - the most modern technological equipment, as well as the fact that its command staff consisted of experienced researchers. Simmons' presentation of the circumstances that led to the collapse of the expedition was based, to a certain extent, on the scientific knowledge about it, collected from the first searches for the expedition to this day, but also on the cultural idea that was formed first in Great Britain, and then in Canada and the United States, during that time period. As the essence of cultural communication produced by the novel and the series, we see the inability of civilization as a source of fear - or horror - before the socially ontologically uncertain position that people are brought into, when they are displaced outside their original sociocultural context and find themselves in conditions in which norms of that context can be contrary to the measures that are taken for the sake of physical survival. This given fear is of cultural origin: its root is in a situationally generated idea that it is possible that the reality is different from the one which is being defined by the social order and cultural norms, namely the rules, that make our world known and subject to human control, are not fully applicable. The boundaries of this fear are permeable for those things which a person is not able to face successfully on the basis of his/her innate abilities and cultural development.

Predmet ove disertacije je uloga popularne muzike u konstruisanju rodnih identiteta u postsocijalističkoj Srbiji. Fokus je na savremenim oblicima folk muzike. Polazim od teze da je scena ove muzike pokazatelj promena u društvu, pa tako i transformacije rodnih identiteta. Analiziram procese konstrukcije rodnih identiteta na estradi, odnosno među afirmisanim izvođačima i izvođačicama, ali i u uslužnim delatnostima gde rade neafirmisani. Cilj je da se mapiraju promene ne samo u odnosu na socijalistički period, nego i između različitih faza postsocijalističke transformacije. U tu svrhu koristim analizu tekstova pesama, video spotova i scenskih identiteta, kao i etnografiju odnosno posmatranje, neformalne razgovore i intervjue sa izvođačima i gostima u mestima gde se ova muzika svira i pušta. Nakon rekapitulacije najvažnijih procesa u socijalizmu, analiziram promene kroz različite faze postsocijalističke transformacije, pokazujući kako se menjala veza sa nacionalizmom i kako ovaj segment popularne kulture sve vreme prati, pa čak i anticipira uvođenje tržišnih odnosa. Analiziram njegov odnos sa najvažnijim narativima društva u transformaciji – nacijom i evropskim integracijama, ali i sa do sad zanemarenim pitanjima kao što su rad u ovoj vrsti muzike i klasno raslojavanje na sceni. Pokazujem kako on nudi mnogo više modela od paradigme koja mu se obično pripisuje – nacionalističke, heteronormativne i patrijarhalne, ali i kako ostaje čvrsto užljebljen u kapitalističke procese i odnose, The topic of this dissertation is the role of popular music in the construction of gender identities in post-socialist Serbia. Its focus is on contemporary forms of folk music. My starting point is the claim that this music scene indicates changes in the society, as well as the transformation of gender identities. I will analyze the construction processes of gender identities in the show business, i.e. among the affirmed performers, as well as in the service sector where the non-affirmed work. The goal is to map the changes not only regarding the socialist period, but also between different phases of the post-socialist transformation. For that purpose I will use the analysis of song lyrics, videos and scene identities, as well as the ethnography, i.e. observation, informal conversations and interviewing the performers and the guests at the places where this kind of music is played and listened to. After recapitulation of the most important processes in the socialism, I will analyze the changes through various phases of post-socialist transformation and show how the connection with nationalism has been changing and how this segment of the popular culture is constantly following, even anticipating, the introduction of the market relations. I will describe its relation with the most important narratives of the society in the transformation – the nation and the European integrations, but also with the hitherto neglected questions such as working in this type of music and class division in the show business. I will likewise show that it offers many more models than it is usually attributed to – nationalist, heteronormative and patriarchal, as well as the way in which it remains firmly integrated into capitalistic processes and relations

The notion of "music" should be viewed as a svnesthetic concept: impressions about it arc not transmitted exclusively through the sense of hearing, but also to the visual perception. The effect of music can be seen as intellectual and emotional, as a relation towards the played or pronounced at the lyrics, but also towards the very appearance or performance of the musicians, to the musical piece performing and so on. In other words, we do not only communicate by playing and listening to music, but also understanding it in terms of cultural and social phenomenon. Those who use the concept of music understood in such away even do not have to be musicians, because socially and culturally understandable and relevant messages can be transmitted through the simple broadcasting of a certain music audio or video recordings, or by taking a stand towards some musical piece. Music represents a medium to expression of a sociocultural otherness in Western civilization, at least from the Middle Agcs, but also represents a way of producing that otherness. By producing of otherness, we mean discovered, namely, conscious and intended individual acts to the use of music as a synesthetic concept for the purpose of transmitting a cultural message about a certain kind of otherness in a given sociocultural context, and which, for immediate reference, takes the sender of such a message. Our aim is to present a mechanism of that producing of otherness in such a way, by considering examples to different types of musical pieces (Rock and Roll, film music, classical music, etc.), different types of otherness (ontological, political, ethnical, etc.) and different sociocultural contexts from closer and further past, as well as from the present.

An important feature of the work of one of the most influential science fiction writers of the last century, Philip Kindred Dick, is the manifestation of different experiences of reality by one or more actors - creating an impression among readers that it is possible to speak of several different planes of existence within a single narratively given reference frame. Contrary to other authors who have dealt with this problem, we do not interpret them in terms of parallel or alternative ontologically equal realities, but as ontologically different existential sources, which will, through narrative resolution, in most of Dick's work, pour into one social plane. Without going into the literary and artistic aspects of the work, this analysis reveals its still unrecognized cultural message - socio-onto-logical solipsism, relevant to the understanding of not only the twentieth century but contemporary social utopias as well.

The subject of work is a value relationship that is established towards the society in the books of the prophet of Hosea, Joel, Amos, Obadiah, Jonah, Micah, Nahum, Habakkuk, Zephaniah, Haggai, and Malachi. Their attitude toward the current state of social organization of the Jewish people is negative. They see the social and cultural life as morally bad, where the roots of that evil are in deviation from God's laws given to Moses, and its manifestations are all of those actions that, from an eschatological perspective, lead to punishment, not salvation. We call this relationship a misanthropic one, since it is not a simple view of society as morally distorted, but such distortion is set in a kind of teleological perspective, in which it turns out that given sociability for the prophets is a systematically organized way of human existence contrary to the basic interests of man - life in in accordance with God's laws for salvation.

As a social determinant of health, stigma is a major barrier to health care access, illness management and completing the treatment. It is attributed both to HIV as a health condition and to the populations at risk of being infected with it. In Serbia, HIV is associated with men who have sex with men (MSM), with a noticeable stigma towards them. Drawing upon a qualitative cross-sectional study, conducted in three Serbian cities, we explore the MSM's perception of HIV in the context of that social stigma. Using a respondent-driven sampling approach, 62 targeted MSM respondents participated in focus groups discussions and in-depth interviews. We found that the participants' understandings of the HIV infection, risks and prevention are shaped by stigma. Those MSM who resisted stigma relativised the HIV risk, associating it with the general population and HIV-positive MSMs, believing that HIV, perceived as a chronical illness, was unjustly related to MSM. As one of the main preventive measures, serosorting was based on alleged HIV-positive statuses of potential sexual partners. HIV-negative participants described perceiving HIV-positive MSM as the ones responsible for spreading the virus, since they were concealing their positive status. As a response to stigma, MSM tended to challenge the HIV discourse, shifting it away from MSM onto the general (male) population and HIV positive MSM. Our analysis suggests that stigma resistance may make MSM more susceptible to taking risks. HIV prevention programmes should take the social context of MSM into account and target MSM-related stigma.

The cultural communication attempted by this film in the context of science fiction as part of popular culture is analyzed. The message of the film pertains to the inexistence of a solution to the instability of the relationship between the normative order and human behaviour - which is the description of human social existence in the film, and is interpreted as a pessimist view of this existence. The message is arrived at through a string of binary oppositions.

Uvod/Cilj Ulične seksualne radnice kontekstualno su podložne brojnim faktorima koji ugrožavaju zdravlje, ali i same učestvuju u njihovom reprodukovanju. Ovoj sinergiji smo pristupili iz perspektive teorije sindemije, razvijene u okvirima medicinske antropologije. Cilj rada je bio analiza rezultata kvalitativnog etnografskog istraživanja sprovedenog u Beogradu tokom 2015. godine i ukazivanje na faktore sociokulturnog okruženja koji utiču na sindemijski razvoj bolesti. Metod Upotrebom standardne kvalitativne antropološke metodologije pristupili smo činiocima rizičnog okruženja koji uvećavaju mogućnost pojave specifičnih oboljenja. Naglasak je stavljen na polustrukturisane intervjue i analizu podataka o kojima izveštavaju sami ispitanici. Rezultati Društveno okruženje seksualnog rada, koje se u načelu smatra rizičnim od seksualno i krvlju prenosivih bolesti, u ovom istraživanju se pokazalo kao podložno za širenje mnogih drugih bolesti čiji sindemijski karakter do danas nije dovoljno proučen. Istraživanje je potvrdilo sindemijski karakter uličnog seksualnog rada. Zaključak Perspektiva društvenih nauka može doprineti konceptualizaciji i implementaciji zdravstvene politike, kako u fazama tumačenja društvenih uslova koji utiču na pojavu medicinski relevantnih stanja, tako i za razumevanje toga kako se medicinska stanja i društveni uslovi u kojima oni nastaju međusobno konstituišu., Introduction/Objective Although female street sex workers are contextually vulnerable to numerous health-endangering factors, they also contribute in re-producing them. This synergetic production is approached by syndemic theory developed within medical anthropology. The objective of the study is to present an analysis of the results of a qualitative ethnographic study conducted in Belgrade, Serbia in 2015, and reflect upon social environment factors influencing syndemic development of medical conditions. Methods The risk environment factors enhancing possibilities of developing particular medical conditions were investigated by applying qualitative anthropological methodology, emphasizing semi-structured in-depth interviews, a standard qualitative sample, and respondents' self-reporting. Results Social environment of sex work, generally considered risky due to sexually and blood-transmitted diseases, in this study also proved as receptive for many other illnesses, whose syndemic character has been insufficiently addressed. The study confirmed the syndemic nature of street sex work. Conclusion The social science perspective should be used in health policy conceptualization and implementation not only during latter stages, i.e. in the interpretation of the social conditions influencing medical related issues, but during early stages of understanding how those conditions and issues circularly constitute each other.

Polaznu tačku u ovom istraživanju čini savremena preokupacija zdravljem i rizicima po zdravlje koja se, iako do skora pretežno karakteristična za razvijena zapadna društva, danas postepeno širi u sve krajeve sveta. U Srbiji se danas takođe može zapaziti postepeno fomiranje društvene svesti o značaju zdravlja koja se ispoljava u vidu uvećanja diskursa o zdravlju i rizicima po zdravlje, sve zastupljenijoj tendenciji među građanima Srbije da putem informisanja o rizicima po zdravlje i izbegavanjem njihovog preduzimanja nastoje da poboljšaju svoje zdravstveno stanje, ali i vidu skorašnjeg uvođenja i sprovođenja zakona koji nastoje da umanje mogućnost izlaganja stanovništva rizicima po zdravlje, kao što su Zakon o zaštiti stanovništva od izloženosti duvanskom dimu koji važi na republičkom nivou, odluka o zabrani prodaje alkoholnih pića u trgovinskim objektima u vremenu od 22 (23) do 06 sati usvojena u Beogradu, Zrenjaninu, Šapcu i Novom Sadu i odluka prema kojoj je trgovinskim objektima koji prodaju alkoholna pića zabranjeno da rade u vremenu od 22 do 06 sati koja je na snazi u Kragujevcu. Uvođenje ovih zakona pokrenulo je brojne debate u javnosti u kojima su učestovali različiti društveni akteri. U tim debatama protivnici ovih zakonskih akata ukazali su na nesklad između njihovih proklamovanih ciljeva i mera koje predlažu radi njihovog ostvarenja zbog čega se, kako su oni istakli, ovi zakoni ne mogu shvatiti kao sredstva koja imaju za cilj poboljšanje zdravlja i bezbednosti stanovništva, kao i da ovi zakoni diskrimišu osobe koje puše i konzumiraju alkohol, posebno one koji pripadaju određenim društveno neprivilegovanim grupama, i da su diskriminacija i stigmatizacija nešto sa čime se pušači u Srbiji danas svakodnevno susreću. Teme kojih su se protivnici ovih zakona dotakli su dobro proučene u zapadnim društvima i najčešće se dovode u vezu sa savremenom veštinom upravljanja koja se sprovodi putem diskursa rizika. U okviru ovog pristupa u proučavanju rizika, inspirisanim, The starting point of this research is contemporary preoccupation with health and health risks that, although until recently predominantly a characteristic of developed western societies, today is gradually spreading throughout the world. Gradual formation of social awareness of importance of health can also be seen in Serbia today and it is manifested in the form of increase of discourses of health and health risks, ever more accepted tendency among citizens of Serbia to improve their health condition by informing about health risks and by avoiding their undertaking, but also in recent introduction and implementation of laws that seek to minimize likelihood of exposure of population to health risks, such as the Law on protection of population from exposure to tobacco smoke adopted on national level, the act that prohibits sale of alcoholic beverages in retail stores in period from 22 (23) to 06 hours adopted in Belgrade, Zrenjanin, Šabac and Novi Sad and the act according to which retail stores that sell alcoholic beverages are prohibited from working in period from 22 do 06 hours adopted in Kragujevac. Introduction of these legal acts has launched a major public debate in which various social actors participated. In these debates opponents of these legal acts have indicated to discrepancy between their proclaimed goals and means proposed for their achievement for which these laws, as they pointed out, cannot be understood as means aimed for improving health and safety of population and that these laws discriminate against people who smoke and drink alcohol, especially those who belong to certain disadvantaged groups, and that discrimination and stigmatization are something that smokers in Serbia face every day. Topics emphasized by the opponents of these laws are well-studied in western societies and are most often associated with contemporary art of government/governmentality which is carried out through discourse of risk. In this approach in the study of risk in

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Imagining the possibility of an unimaginably long or eternal physical existence is considered as shaped by cultural ideas about mummies as eternal physical bodies in English literature of the 19th and early 20th centuries. Based on three short stories and one novel, the paper will show how cultural ideas about a foreign and distant culture are shaped through the reflection of ideas about one's own culture.

Building up on Morson's idea of misanthropology as the study of the cussedness of human nature I limit that notion to human social and cultural life, suggesting that misanthropology should be considered as misery inflicted upon humans by humans through mediation of society and culture. It is a plea for anthropological investigations into whatever is opposed either to our cultural notion of humanitas, or to what is considered as a virtue in any given social or cultural context. I argue that such context could be crucial in understanding of what is locally thought of as morally, good, or positive, as well of what is opposed to these, but also that any such particular conception should not prevent anthropologists from considering human suffering as an objective and not just contextually dependable fact.