Diskursi feminizma i modernizma u esejima Julke Chlapec Đorđević i Jele Spiridonović-Savić

I start from the definition of Serbian Yugoslav bourgeois culture as a semi-peripheral and having this in mind, I tend to analyze the essays by Julka Chlapec Đorđević and Jela Spiridonović-Savić, from the perspective of the world systemic theories applied to literature.I start from the definition of Serbian Yugoslav bourgeois culture as a semi-peripheral and having this in mind, I tend to analyze the essays by Julka Chlapec Đorđević and Jela Spiridonović-Savić, from the perspective of the world systemic theories applied to literature

Poetika hibridnih multižanrovskih pesničkih tekstova Ljubomira Micića i Branka Ve Poljanskog

In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre  texts  as important  items  in  the  national poetry  canon.  I  will  contextualize  the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.In the text I will focus on Zenitist poetry by Ljubomir Micić and Branko Ve Poljanski. I will construe a new discursive framework, which will make it possible for us to understand their multigenre  texts  as important  items  in  the  national poetry  canon.  I  will  contextualize  the general characteristics of European avant-garde poetry practices, which were used by Micic and Poljanski in order to interpret the specific place of Zenitism as a general Balkan avantgarde movement, participating in a significant way in the European and world avant-garde.

Conceptual writing between language poetry and visual art

The argument deals with conceptual or non-creative writing. The term “conceptual writing” was introduced by the poet and scholar Craig Dworkin, while the term “non-creative writing” was proposed by the poet and scholar Kenneth Goldsmith, both in the context of the American experimental poetic formation situated in between the field of experimental poetry and visual art. Conceptual poets, some of them also academic artists, such as Goldmisth, or concerned with visual arts, such as Dworkin, appeared on the experimental poetry scene in the late 1990s. They highlithed the importance of the internet for writing. They considered that the internet ought to play the function in poetry comparable to the one played by photography in the context of visual art. Drawing on the artists, conceptual poets develop the devices of non-creativity, non-originality, unreadability, appropriation, and re-contextualization, that is, of the re-framing of the found material. Like language poets, conceptual poets also implement an anti-lyrical poetic paradigm refuting expressionism and a clearly articulated lyrical “I”. They adjust avant-garde strategies to the digital age. It is why they consider of particular significance the ready-made potential of non-creative literature and highlight particularly Andy Warhol and Joseph Koshut. It is further necessary to regard the importance of conceptual art be it for language poetry or for conceptual writing, whose name has been derived from it. Scholars explain the work of the poets in terms of the notions of transmediation and re-mediation, while they argue about their paradoxical relationship to the internet. So, for example, even though Goldsmith writes about the web and digital culture, he still uses the medium of book, as if in an era of the prevalence of print culture

Politika i teatar: „Zoran Đinđić” Olivera Frljića i „Oni žive” Milana Markovića i Maje Pelević

In this paper, I am dealing with the political theater and performance. Both performances question the borders between artistic and non-artistic fields, and work with concept of documentary drama. Frljić’s play is realized within the post-drama paradigm, for which the idea of politics of theatrical form is important since it deals with the signifiers. Using the post-drama paradigm, Frljić in his play works with political discourses active in Serbian society in last 20 years. He touches the hidden collective traumas, and by this causes political reactions of the audience and media, which I discuss. Marković and Pelević take the political parties to be the space for their performance. Their performance has three levels of performing. The first level is their membership in different parties, the second one refers to performing the text as a drama play, published in Scena magazine; and the third level concerns their performance’s public reading by the audience.In this paper, I am dealing with the political theater and performance. Both performances question the borders between artistic and non-artistic fields, and work with concept of documentary drama. Frljić’s play is realized within the post-drama paradigm, for which the idea of politics of theatrical form is important since it deals with the signifiers. Using the post-drama paradigm, Frljić in his play works with political discourses active in Serbian society in last 20 years. He touches the hidden collective traumas, and by this causes political reactions of the audience and media, which I discuss. Marković and Pelević take the political parties to be the space for their performance. Their performance has three levels of performing. The first level is their membership in different parties, the second one refers to performing the text as a drama play, published in Scena magazine; and the third level concerns their performance’s public reading by the audience

The Spatial Turn: A Comparative Anaysis of the Functions of Place in Experimental Poetry and Visual Arts

Pokazat ćemo kako se vremenske strategije i logike historizacije zamjenjuju prostornim politikama teritorijalizacije i deteritorijalizacije u poeziji i vizualnim umjetnostima. Pozornost će biti posvećena prostornim politikama specifičnog mjesta etnološkog kontekstualiziranja, geografskih razlika i sličnosti u verbalnom mediju poezije i u postmedijima vizualnih umjetnosti. Pokazat će se kako u američkoj eksperimentalnoj poeziji i vizualnoj umjetnosti nakon Drugog svjetskog rata pjesnici i umjetnici počinju djelovati na određenim lokacijama kao etnografi, geografi i povjesničari. Teorijska teza ovog teksta jest da prostorni obrat i time fenomenologija prostora zadobivaju status i funkcije medija i postmedija kako u suvremenoj poeziji tako i u suvremenoj vizualnoj umjetnosti.The aim of this paper has been to show how temporal strategies and logics of historicization are substituted through the spatial policies of territorialization and de-territorialization in poetry and visual arts. Our focus has been on the spatial policies of a specific site of ethnological contextualization, geographic differences, and similarities between the verbal medium of poetry and the post-media of visual arts. We have shown that, in American experimental poetry and visual arts after World War II, poets and artists began to operate in certain sites as ethnographers, geographers, and historians. The theoretical hypothesis of this text is that the spatial turn and thus the phenomenology of space have acquired the status and the functions of media and post-media, both in contemporary poetry and in the contemporary visual arts

The Spatial Turn: A Comparative Anaysis of the Functions of Place in Experimental Poetry and Visual Arts

Pokazat ćemo kako se vremenske strategije i logike historizacije zamjenjuju prostornim politikama teritorijalizacije i deteritorijalizacije u poeziji i vizualnim umjetnostima. Pozornost će biti posvećena prostornim politikama specifičnog mjesta etnološkog kontekstualiziranja, geografskih razlika i sličnosti u verbalnom mediju poezije i u postmedijima vizualnih umjetnosti. Pokazat će se kako u američkoj eksperimentalnoj poeziji i vizualnoj umjetnosti nakon Drugog svjetskog rata pjesnici i umjetnici počinju djelovati na određenim lokacijama kao etnografi, geografi i povjesničari. Teorijska teza ovog teksta jest da prostorni obrat i time fenomenologija prostora zadobivaju status i funkcije medija i postmedija kako u suvremenoj poeziji tako i u suvremenoj vizualnoj umjetnosti.The aim of this paper has been to show how temporal strategies and logics of historicization are substituted through the spatial policies of territorialization and de-territorialization in poetry and visual arts. Our focus has been on the spatial policies of a specific site of ethnological contextualization, geographic differences, and similarities between the verbal medium of poetry and the post-media of visual arts. We have shown that, in American experimental poetry and visual arts after World War II, poets and artists began to operate in certain sites as ethnographers, geographers, and historians. The theoretical hypothesis of this text is that the spatial turn and thus the phenomenology of space have acquired the status and the functions of media and post-media, both in contemporary poetry and in the contemporary visual arts

Epizootiološki značaj Salmonella spp. izolovanih u različitim vidovima živinarske proizvodnje u Južnobačkom i Sremskom okrugu

Salmonella causes local and systemic infections of poultry, which may lead to substantial direct and indirect economic losses, presenting also significant risk to human health. The aim of this study was to monitor the occurrence of certain serotypes of Salmonella spp. isolated on poultry farms in Southern Bačka and Srem regions in the period from 2010 to 2014, as recommended by the Book of rules of early detection, diagnostic, prevention of spreading and eradication of Salmonella spp. We analyzed the results obtained from the laboratory for clinical bacteriology to determine number of salmonella cases. From all samples that have been submitted for bacteriology analysis, salmonellas were isolated from 7.3% samples. Salmonella infantis was isolated from 50.3% of all salmonella-positive samples, mostly from materials supplied from broiler farms. Salmonella enteritidis was most frequently isolated in broiler chickens at the rate of 48.2%. There is an increasing trend in the occurrence of Salmonella enteritidis and Salmonella infantis on poultry farms from year to year. Our research revealed the highest incidence of salmonella isolates in broilers that died during transportation or within the first three days upon arrival of chickens. During the five-year research period, 65 samples from parent flocks (63 from broiler breeders and 2 from parent flocks of layers) were salmonella positive, which makes 8.03% of all positive isolates. It is most likely that salmonella infection occurs due to infection of parent flocks and young chickens are infected trough both vertical and horizontal transmission. .Salmonele kod živine izazivaju infekcije lokalnog i sistemskog karaktera, dovodeći do značajnih kako direktnih tako i indirektnih ekonomskih gubitaka u industrijskom živinarstvu i predstavljaju opasnost po zdravlje ljudi. Cilj ovog rada bio je monitoring određenih sojeva Salmonella spp. propisanih Pravilnikom o utvrđivanju mera za rano otkrivanje, dijagnostiku, sprečavanje širenja, suzbijanje i iskorenjivanje infekcija živine određenim serotipovima salmonella, na teritoriji Sremskog i Južnobačkog okruga u periodu od 2010. do 2014. godine. Analizirali smo rezultate ispitivanja laboratorije za kliničku bakteriologiju. Od ukupno ispitanih bakterijskih infekcija iz kliničkog materijala u ovom petogodišnjem periodu, salmonele su izolovane u 7,3% slučajeva. Ustanovljeno je da je Salmonella infantis izolovana u 50,3% svih pozitivnih uzoraka, najčešće iz materijala dostavljenih sa farmi brojlerskih pilića. Salmonella enteritidis izolovana je u 48,2%, takođe najčešće kod brojlerskih pilića. Prisutan je trend porasta izolata Salmonella enteritidis i Salmonella infantis iz godine u godinu. Našim istraživanjem ustanovili smo da je najviše pozitivnih uzoraka bilo kod brojlera, u transportnim uginućima i uginućima iz prva tri dana starosti. Kod roditeljskih jata bilo je pozitivno 65 uzoraka u ovom petogodišnjem periodu (63 kod teške linije i 2 kod lake linije), što iznosi 8,03 % od svih pozitivnih izolata. Pretpostavlja se da je do infekcije salmonelama moglo doći usled horizontalne i vertikalne infekcije preko roditeljskih jata.