Avtor v prispevku izpelje semiološko analizo spletnih aktivnosti šestih najbolj priljubljenih zasedb v sodobni slovenski narodnozabavni glasbi, da bi ugotovil, kako uporabljajo družbena omrežja. ...Rezultati kažejo, da so glasbene skupine na družbenih omrežjih prisotne na različne načine: zasedbe, ki se približujejo konvencijam pop glasbe, so zelo aktivne, medtem ko so tiste, ki ostajajo bližje konvencijam klasične narodnozabavne glasbe, na družbenih omrežjih zadržane. Kljub vsem razlikam pa analizirane zasedbe na družbenih omrežjih povezujeta dva vsebinska poudarka: ljudskost in žur. Zdi se torej, da je sodobna narodnozabavna glasba še vedno močno zavezana eni od osrednjih tradicionalističnih vrednot, skupnosti, le da je sedaj očitno pomembno, da se ta skupnost zabava.
Slovenian folk pop is one of the most under-researched music genres in Slovenia. To learn more about it, we conducted research about the demographics of those who listen to it. The results show that ...this genre is popular principally among older, less-educated, religious, politically right-leaning people in the countryside, while it is also listened to by other segments of society, albeit to a smaller degree. We also found that there is no significant correlation between listening to folk pop and economic class and gender. This suggests that Slovenian society is stratified into various cultural formations, primarily with respect to education, religiosity, age, political affiliations and place of residence rather than economic class.
Corto Maltese from the eponymous series is usually regarded as one of the last great romantic heroes in comic books. This qualification is related to his persistent idealism. In various episodes, he ...typically ends up renouncing the material gains (e. g. a treasure he is after) in the name of friendship and solidarity. Corto Maltese consequently appears as a politically subversive figure, but in fact romantic individualism is an ambivalent ideology, which has developed together with - and not in opposition to - the dominant social-economic relations. The author of the article therefore proposes that we understand the subversive essence of the Corto Maltese series slightly differently, from the perspective of Deleuze-Guattarian schizophrenia, where stable structures of meaning are replaced by the world of unpredictable transitions. The analysis of the series points out the most important elements that could be understood as examples of endless semiosis.
The history of Slovenian popular music is one of the most under-researched areas of Slovenian cultural heritage. It can be argued, therefore, that no definitions of Slovenian popular music would have ...been established had extensive research not been carried out by different scholars and experts, functioning in this respect as a kind of substitute for official work. The question here is simply what kind of understanding of Slovenian popular music emerges in this more or less spontaneous and unofficial research. The author analyses the content of all Slovenian scientific and expert monographs, scientific and expert articles, film and TV documentaries as well as school textbooks, at least some segments of which address Slovenian popular music, and argues that these accounts are significantly biased: for the most part, they focus only on different marginal music genres while the majority of other music genres, including all those that are the most popular among Slovenians, are neglected. Adapted from the source document.
The city of Ljubljana is one of the most recurring Slovenian film locations. It would be interesting to find out, therefore, precisely how it is presented in Slovenian films. This article is based on ...a semiological analysis of all Slovenian feature-length movies shot during the quick modernisation period of the country of Yugoslavia (and its Socialist Republic of Slovenia), beginning after the Second World War and ending in the late 60s, which are mostly set in Ljubljana. The results suggest that Slovenian filmmakers at that time were not comfortable with the processes of modernisation and urbanisation of the city. This point could be discerned from two opposing yet interrelated representations of the city in the analysed sample. In the films in which the distinct signs of modernisation are largely absent, Ljubljana is presented as a pleasant or even beautiful city, while in the films in which the signs of modernisation are present, Ljubljana is shown as a neurotic and alienated place. Such representations could be explained by relatively low status of urbanity in the Slovenian culture.
Slovenska narodnozabavna glasba je kljub svoji priljubljenosti eden najmanj raziskanih glasbenih žanrov v Sloveniji. Vpričujoči razpravi nas je tako zanimalo, kdo to glasbo v resnici posluša. Analiza ...odgovorov v raziskavi Slovensko javno mnenje je pokazala, da narodnozabavno glasbo poslušajo zlasti manj izobraženi, starejši, verni in politično na desno nagnjeni posamezniki s podeželja, da pa je to zgolj tendenca. To glasbeno zvrst namreč poslušajo tudi drugi segmenti populacije, le da v manjšem obsegu, pri čemer rezultati raziskave niso pokazali statistično značilne povezave poslušanja s spolom in ekonomskim slojem. Iz povedanega sklepamo, da je slovenska družba v različne kulturne formacije razčlenjena bolj po kriterijih izobrazbe, vernosti, politične pripadnosti in kraja bivanja kot po ekonomskih kriterijih.
The article explores the relationship between Slovenian national identity and popular music. A substantial empirical research (150 interviewees from 4 different Slovenian regions) has been conducted ...to find out what kind of music Slovenians themselves perceive as typically Slovenian and what are for them the defining characteristics of these music acts or styles. The results show that the vast majority of interviewees understand as typically Slovenian just one music style, Slovenian folk pop (narodno-zabavna glasba). The key features that make Slovenian folk pop Slovenian are for them its content (beauties of Slovenia), its contribution to Slovenian national awareness, Slovenian lyrics, etc. Various possible reasons for such uniform and even self-referential answers are discussed. Among them are cultural re-traditionalisation of former Yugoslavian republics (now independent states) after the break-up of Yugoslavia in 1991, recent modernisation of Slovenian folk pop, and the need for a country as culturally, historically, geographically, etc. diverse as Slovenia to organise its symbolic imaginary around simple and understandable signifiers.
In the article, representations of Ljubljana in Slovenian feature films made during the period of accelerated modernisation from the end of WWII to 1969 are analysed. Semiological analysis shows that ...Ljubljana is in these films constructed in a rather diverse yet not entirely arbitrary manner, as in all cases various signifiers of modernisation are presented in negative contexts. In films, where signs of modernisation are largely absent, Ljubljana appears as pleasant and beautiful city, whereas in films, where signs of modernisation are present, Ljubljana is presented as neurotic and alienated city. These representations could be explained by the relatively low status of urbanity in Slovenian culture.
V članku so s pomočjo semiološke metode analizirani prikazi Ljubljane v slovenskih celovečernih igranih filmih, ki so bili posneti v obdobju pospešene modernizacije od konca druge svetovne vojne do ...konca šestdesetih let. Analiza je pokazala, da je v obravnavanih filmih mogoče prepoznati zlasti nelagodje ob hitri modernizaciji mesta. To nelagodje se kaže na dva povezana načina: v filmih, v katerih označevalcev modernosti ni videti, je Ljubljana prikazana kot prijetno in lepo mesto, v filmih, v katerih so takšni označevalci razvoja prisotni, pa je Ljubljana prikazana kot nevrotično in odtujeno mesto. Takšne prikaze je mogoče povezati z razmeroma nizkim statusom, ki ga ima v slovenski kulturi urbanost.
In the article, representations of Ljubljana in Slovenian feature films made during the period of accelerated modernisation from the end of WWII to 1969 are analysed. Semiological analysis shows that ...Ljubljana is in these films constructed in a rather diverse yet not entirely arbitrary manner, as in all cases various signifiers of modernisation are presented in negative contexts. In films, where signs of modernisation are largely absent, Ljubljana appears as pleasant and beautiful city, whereas in films, where signs of modernisation are present, Ljubljana is presented as neurotic and alienated city. These representations could be explained by the relatively low status of urbanity in Slovenian culture.
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