This paper focuses on Arthur Danto’s approach to literature. One of the leading philosophers of art in the analytical philosophical tradition, Danto published on art ontology, defining art and art ...historicity as well as serving as an art critic for the magazine The Nation in the late phase of his career. The essence of Danto’s philosophy thus lies in the visual arts, and it seems he was not interested in literature from a philosophical point of view. However, following Garry L. Hagberg, I show that Danto was not only a keen reader but also reflected on literature, its specificity, and its role. In the first part of the paper, I scrutinize what — in Danto’s view — is a literary work of art, and I compare his position to the view of New Criticism. In the second part, I explore the often neglected dimension of Danto’s philosophy of art, i.e., the spectator’s emotional response to an artwork. I argue that Danto draws on works of literature to illustrate the nature of this response for the reason that they provide the basis for a deeper understanding in this context.
Autor daje pregled relevantnih članaka i knjiga o sportskim temama na jugoslavenskom i postjugoslavenskom prostoru, objavljenih u domaćoj i inozemnoj historiografiji i humanističkim znanostima u ...posljednjih sedamdeset godina. U tom smislu će se međuodnos sporta, publike i društveno-političkih gibanja promatrati kao kulturna praksa na temelju koje se može stvoriti osnova za bolje razumijevanje
jugoslavenskog društva u razdoblju kasnog socijalizma.
Tehnološki razvoj, a utom i tehnološka revolucija u trajanju, inicirali su promene medijskog okruženja i njegovih karakteristika, te naših navika u konzumiranju i recepciji sadržaja – od prenosa i ...plasiranja informacija, preko čitanja vesti, gledanja TV programa, do slušanja muzike. Ovaj rad pokušaće da pruži osnovni uvid u promene koje je donela digitalizacija, fokusirajući se posebno na radio i njegovo preseljenje „iz vazduha“ na „mrežu“. Istražujući fenomene povezane s izlaskom radija iz analognih okvira, poput „podkasta“ (podcast), „klauda” (cloud) i „striminga“ (streaming) koji čine digitalnu infrastrukturu internet radija, rad stavlja akcenat na izmenjenu ulogu publike koja od „pasivnih recipijenata“, postaje mreža aktivnih „stvaralaca-potrošača“ (prosumers) odnosno stvaralaca-korisnika (produsers). U spletu društvenih odnosa i potrošačkih praksi izdvajaju se „novi amateri“, amalgami publike i fanova-kreatora koji danas imaju mogućnost da radio program, uz navedene alatke, „urade sami“ (DIY). Oni zamagljuju granice „tradicionalne” podele poslova između „stvaralaca“ i „potrošača“ radija, te odnose između profesionalaca – etabliranih „radijskih zvezda“ i početnika, izmičući okvirima kontrolisane proizvodnje i podstičući aktivan proces stvaranja kulture odozdo. Osim što će ponuditi analizu pomenutih fenomena, ovaj rad razmatraće i da li je konvergencijom radio izmenio svoje karakteristike i znakom „PLAY” na ekranu ukazao da može (ponovo) da počne.
Od svojih početaka do danas radio je prošao kroz brojne promjene,uvjetovane modernizacijom tehnologije i promjenama kod medijskepublike. Zbog toga je danas relevantan, moćan i sveprisutan medij.Rad ...analizira sličnosti i razlike između današnjih dominantnih radijskihmodela – komercijalnog radija, javnog servisa te neprofitnog radija, snaglaskom na studentski radio kao dio neprofitnog radijskog sektora, kaoi načine na koje ti modeli zadovoljavaju potrebe svoje publike te istražujepotrebu i donosi plan pokretanja studentskog radija na Sveučilištu VERN’.Koristeći metode ankete i strukturiranog intervjua, istražuju se sadržajnepotrebe i navike slušatelja te analiziraju prednosti pokretanja studentskogradija na Sveučilištu VERN’ iz perspektive studenata, publike i Sveučilišta.U skladu sa željama i potrebama publike te visokim akademskim iprofesionalnim standardima, predstavljena je okvirna programskaosnova nove studentske radiopostaje na Sveučilištu VERN’, kao i radniizračun troškova, pregled potrebnih sredstava te operativni plan zaoptimalno funkcioniranje takvog radija.
From its inception, radio has gone through numerous changes,conditioned by the modernization of technology and changes of theaudience. That is why it remains a relevant, powerful and all-presentmedia format. The purpose of this paper is to analyze the dominant radiomodels - commercial radio, public radio and non-profit radio, with anemphasis on student radio as a part of non-profit radio market, as wellas the ways that these models are complementing the needs of theiraudience and is exploring the need and plan of creating a student radioat the VERN’ University. The research presented was conducted in twoways: the audience was interviewed via polls about the listeners needsand habits and the current editors of existing community radio stationswere interviewed in structured interviews. All presented benefits areviewed from the perspective of both the student volunteers and thegeneral audience, as well as from the standpoint of the University itself.In accordance with the needs of the target audience and high academicand professional standards, the paper proposes an outlined programscheme basis, a budget, and an operative plan for running such a radiostation.
Studije teorije i istorije mode, do skora svrstavane u studije kulture, roda, komunikologije, istorije umetnosti i antropologije, na akademskoj mapi XXI veka afirmišu se kao zasebne discipline. ...Objedinjujući pomenute kontekste, afirmacija studija mode najdominantnija je u okviru muzeologije mode, kako upravo muzeologija mode odnosno fashion museology postaje jedna od vodećih tendencija u okviru savremenih muzeoloških praksi. Ovaj rad modu posmatra kao svojevrstan sistem, kodiran sociokulturnim kodovima, te razlog sve prisutnijim izložbama mode kako na internacionalnoj, tako i na nacionalnoj muzejskoj sceni nalazi u kodovima mode koji se kreću između estetskog i komercijalnog. Afirmišući modu kao umetnost s jedne strane, te povećavajući profitabilnost institucije s druge strane, izložba mode omogućava muzeju da bude „u modi“, odnosno u toku sa savremenijim i liberalnijim izlagačkim konceptima. Uprkos činjenici da u tekućoj godini u nacionalnim muzejima dolazi do velikog broja modnih izložbi, moda je još uvek bez svoje muzeologije, odnosno naučne teorije koja bi je objasnila kao muzejski fenomen. Izložbeni eksponati tumače se istorijski, pri čemu se objašnjava njihova utilitarna i estetska vrednost, dok se na pitanje zašto se moda izlaže kao vid umetnosti ili kulturne produkcije konzumentu izložbe – posetiocu – ne daje odgovor. Analizirajući istorijske događaje koji su uslovili muzejsko izlaganje mode, te različite koncepte njenog izlaganja, autor teksta nastoji da kroz jukstapoziciju internacionalnih i nacionalnih izložbi uoči uzroke nedostatka muzeologije mode, te otvori pitanje njene afirmacije u okviru akademske i muzejske javnosti Srbije.
straipsnis ir santrauka lietuvių kalba; santrauka anglų kalba Šiuolaikiniuose scenos menuose pastebimas augantis susidomėjimas auditorijų įsitraukimo mechanizmais, siekiama juos permąstyti ir tirti. ...Vienas iš tyrimo būdų yra per pastaruosius keletą dešimtmečių vis didesnį pripažinimą įgaunanti meninių tyrimų sritis, kurioje kūrybinė praktika pasitelkiama kaip įrankis tyrimui vykdyti. Šiame straipsnyje į meninius tyrimus žvelgiama iš scenos menų perspektyvos, kur jie siejami su performatyvumo estetikos, sureikšminančios ne reprezentaciją, o gyvą dialogą tarp atlikėjo ir žiūrovo, atsiradimu. Pateikiant praktinius pavyzdžius, mėginama atsakyti į klausimą – kaip meniniai tyrimai gali padėti atsakyti į auditorijų įsitraukimo klausimus?
Govor mržnje predstavlja neprihvatljiv oblik društveno štetnih komunikacijskih formi čija je raširenost u posljednje vrijeme u porastu. Razvojem digitalnih medija, a posebice jačanjem uloge ...društvenih mreža u privatnoj i javnoj komunikaciji, otvoren je prostor za brojne javne virtualne forume koji su pasivnu publiku potaknuli na aktivniju participaciju i komunikaciju. Sloboda govora i izražavanja kao temeljna demokratska načela s jedne strane suočavaju se s prostorom za toksičnu komunikaciju s druge strane, okupljajući istomišljenike u virtualnim zajednicama kojima su meta napada nerijetko akteri priloga, novinari, urednici, mediji, pa i drugi korisnici. Uzimajući u obzir neograničenost internetskog prostora čiji je sadržaj teško kontrolirati, postavlja se pitanje kako prepoznati društveno štetne komunikacijske forme u javnom prostoru, može li ih se spriječiti i kako zadržati postojeću publiku. Mogućnosti upotrebe proširuju se i na područje moderiranja neprimjerenih komentara korisnika oslanjanjem na softvere koji pružaju trenutne odgovore medijskim organizacijama, ali i koji također pokazuju kontinuiranu potrebu za samopoboljšanjima. Interes autora u ovom radu vezan je za detekciju govora mržnje prema etnicitetu na društvenim mrežama te istraživanju mogućnosti primjene jezičnih tehnologija u prepoznavanju i sprječavanju širenja govora mrženja. Kvantitativnom i kvalitativnom analizom sadržaja te primjenom niza softverskih rješenja temeljenih na jezičnim tehnologijama omogućena je učinkovita automatska i poluautomatska analiza velike količine korisnički generiranog sadržaja. Korišteni su: program WordFinder za brzi pronalazak riječi u velikim korpusima, alat CRONTIMENT za automatsku dodjelu sentimenta tekstovima na hrvatskom jeziku, aplikacija Text Marker za učinkovito ručno označavanje i izgradnju korpusa. U pojedinim studijama slučaja autori detektiraju promjene u vrstama i frekvencijama pojave govora mržnje u predmetu istraživanja te identificiraju glavne prednosti i nedostatke primjene jezičnih tehnologija, sugerirajući pri tome moguće smjerove razvoja.
Hate speech is an unacceptable form of socially harmful communication that has recently increased in prevalence. The development of digital media, and in particular the strengthening of the role of social networks in private and public communication, has opened the space for numerous public virtual forums that have encouraged passive audiences to participate and communicate more actively. Freedom of opinion and expression as fundamental democratic principles on the one hand are juxtaposed with the space for toxic communication on the other, but also with the potential for radicalization of certain social groups of like-minded individuals who congregate in virtual communities where they often select contributors, journalists, editors, media and other users as targets for future attacks. Given the boundlessness of Internet space, whose content is difficult to control, the question is how to detect socially harmful forms of communication in the public sphere, whether they can be prevented, and how to retain existing audiences.The potential uses extend into the area of moderating inappropriate user comments by relying on software that provides instant responses to media organizations, but also has a constant need for self-improvement. The author’s interest in this work relates to detecting hate speech against ethnic groups on social networks and exploring the possibility of using speech technologies to detect and prevent its spread. Using quantitative and qualitative content analysis in conjunction with a set of software solutions built on speech technologies, we enable efficient automatic and semi-automatic analysis of user-generated content. We use: the WordFinder program for fast word retrieval in large corpora, the Crontiment tool for automatic sentiment analysis of texts in Croatian, and the Text Marker application for efficient manual albeling and building of corpora. The authors use a longitudinal study to identify changes in the types and frequencies of hate speech in this topic and identify the main advantages and disadvantages of language technologies, suggesting possibledirections for development.
The basic purpose of this paper is to describe information as the most valuable currency of postmodern times onwards. Starting from the ground up, the media of mass delivery of information are ...systematically described and the problems encountered by senders and recipients of media messages are based on examples. The paper carefully defines today’s information tools, their reach to internal and external publics, media pragmatism as a motive for using these tools, but also the general characteristics of the development of global communication. Through a discussion based on secondary data, the paper describes the principles of media communication today and, as an intriguing basis, sets the problem of information dissonance in the mass media. The global socio-economic and political environment in which the media communication process takes place is also described. Special attention is paid to the rapid development of information technology, the progress of which creates a favorable environment for a great step forward in the media evolution, the accelerated use of all available options for the development of media tools and techniques and media communication strategies. Furthermore, the paper analyses the stratification of the categories of recipients of media information with regard to the degree of privilege regarding the ruling political option, geolocation, profession, position in society, and especially according to personal and local standards. From the aspect of the motive for creating a scale of privileges, the goals of mass media owners, politicians and the position of power in general, which achieves its own goals with the help of opinion makers and news placement techniques, are observed. It also analyzes the role of the audience, which has changed in the context of demands and attitudes, posing an additional challenge for media content creators. The paper structures the recipients of information in relation to technological changes that have occurred in the media communication process in relation to fast, specialized and two-way communication of the new public, with special emphasis on constant and up-to-date change of media content providers and communication strategy towards the new public. Ultimately, the work results in a summary of the current state and the development of communication in the future that supports the old allegory that the pen is stronger than the sword.
This edited volume takes an in-depth look at current phenomena and issues in auditing, evaluation, and corporate governance. The external environment in which auditing operates - the economy, ...business, and the regulatory environment - is constantly changing. For example, the fight against climate change and other sustainability issues as a central mega-trend has put corporate responsibility at the heart of business. Addressing sustainability and other crises also highlights the need for responsible use and balance of public resources. The book contains 17 articles written by experts in the field. The book addresses current issues in a practice-oriented way, but with a strong scientific basis. The collection is multidisciplinary, as the issues addressed cross the boundaries between the private and public sectors, but also across disciplinary boundaries. It combines empirical, conceptual and legal research techniques. The book covers topics such as the verification of corporate accountability reporting, the quality of the audit, the auditor's responsibility to express an audit opinion and audit research. In addition, the book examines several topics in the field of evaluation and ownership steering, such as leadership in the context of the pandemic crisis and quality assessment in higher education. It also covers the monitoring of fiscal balance and corporate governance of municipal companies.
Rad je usmjeren na afirmaciju kvalitativnih istraživanja u grani sociologije
medija i sociologije kulture, a glavni cilj rada jest opisati kako operna publika
prati recentnu opernu produkciju, putem ...kojih digitalnih medija te koja joj je
motivacija i koja joj značenja pridaje. Iako trendovi socioloških istraživanja
kazališne publike u zapadnom svijetu podrazumijevaju proširivanje fokusa
istraživanja i na „ne-publiku“ (Tröndle, 2019), u Hrvatskoj nikada do sada nije
provedeno istraživanje operne i/ili koncertne publike, koja se u Austriji i
Njemačkoj zasebno istražuje. Sukladno promjeni paradigme, koja je potvrđena
u istraživanjima u SAD-u, istraživačka pitanja rada su: mogu li se prijenosi
opera uživo u kinima podrazumijevati kao kulturno događanje te može li se Dollaseova (1998) kategorizacija publike proširiti novom kategorijom, u koju pripada publika koja opere i operne sadržaje prati u kinima i(li) online, što je bila
jedina mogućnost tijekom karantene uzrokovane pandemijom bolesti COVID-19. Primijenjen je fenomenološki pristup i kvalitativna metodologija (metoda opažanja sa sudjelovanjem, četiri strukturirana intervjua i analiza sadržaja).
Istraživanje je pokazalo kako je uloga virtualnog prostora, iako drugačija i
obilježena specifičnim manjkavostima, gotovo jednako važna kao i fizički prostor u kojem se odvija socijalna interakcija operne publike. Publika stvarnost izvedbe opere, preseljene u virtualni prostor, shvaća i opisuje uglavnom s visokim interesima, motivacijom i očekivanjima. Također, besplatni online operni
sadržaji, koji su intenzivno zaživjeli u 2020. godini tijekom karantene uzrokovane pandemijom bolesti COVID-19, približavaju opernu umjetnost široj populaciji te se predlaže proširenje Dollaseove kategorizacije kategorijom digitalne
operne publike.
The article focuses on the following questions: How does the opera audience
follow the recent production? Which digital media outputs do they use? What is
their motivation? Can opera broadcasts in movie theaters be considered a cultural
happening within the new paradigm? In the United States, research results
show that there has been a shift in the paradigm regarding the concept of cultural
event. Although recent trends in the research of theater audience in Western
countries suggest that, in the context of developing this type of opera audience,
the focus of research should be broadened to “non-audience”, such research
has never been conducted in Croatia. This qualitative research uses a
phenomenological approach and the following research methods: participant
observation, a semi-structured interview with four participants (opera lovers),
and content analysis. The research has shown that the role of the virtual space is almost as equally important as the physical space of the theater, although characterized by significant differences and specific shortcomings. It also seems that the audience accepts the reality of opera broadcasts taking place in the virtual space, as evidenced by the high interest, motivation, and expectations. The number of online opera streams increased during the COVID-19 lockdown and the article lists opera houses which launched some (free) series. In this case, tearing down spatial and temporal boundaries shows the potential for expanding Dollase’s (1998) audience categorization with a new category – digital opera audience
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