884 research outputs found
SHORT NOTES ON CULTURAL STUDIES
Globalizacijom i promjenama kojima smo svakodnevno svjedoci, svijet zaista postaje prostor u kojem su razliÄite kulture u neprestanom doticaju. Gotovo da nema viÅ”e zatvorenih, izoliranih druÅ”tava koja ne dolaze u doticaj s drugima. Sve te promjene dovode do potrebe prouÄavanja razliÄitosti i sliÄnosti meÄu kulturama, uzroke njihova nastajanja kao i ideologija koje ih odreÄuju. Od samih poÄetaka razvoja kulturalnih studija u Velikoj Britaniji pa do danas, kada su ti studiji prisutni u gotovo svakom dijelu svijeta, mijenjali su se pristupi, glediÅ”ta, ali i predmeti njihova prouÄavanja. Upravo je ta interdisciplinarnost kljuÄna pri definiranju razliÄitih druÅ”tvenih i kulturnih fenomena kojima se kulturalni studiji bave. Iako relativno kasno u odnosu na ostatak svijeta, njihova je važnost prepoznata i u hrvatskom obrazovnom sustavu, Å”to je potaklo otvaranje takvih studijskih smjerova.Globalization and the changes we are witnessing on a daily basis, make the world we live in a space where different cultures are constantly in touch. There are almost no closed, isolated societies that do not come into contact with others. All these changes lead to the research on the differences and similarities between cultures, the causes of their emergence and the ideologies that influence cultural studies. From their very beginning in the UK to the present day, cultural studies are present in almost every part of the world, but the approaches, points of view and subjects of their study have been changing. It is this interdisciplinary approach that is crucial in defi ning the various social and cultural phenomena that cultural studies deal with. Although relatively late compared to the rest of the world, their importance was also recognized in the Croatian education system
Interdisciplinarity, Cultural Studies and the New Production of Knowledge
Ovaj rad bavit Äe se temom interdisciplinarnosti opÄenito. Ponudit Äu razliÄite definicije i opise tog koncepta te predstavit razliÄite oblike u kojima se takav naÄin proizvodnje znanja pojavljuje i uz to dotaknuti se druÅ”tvenog konteksta unutar kojeg takav naÄin proizvodnje znanja nastaje. Uz sve to govorit Äu o kulturalnim studijima kao interdisciplinarnom projektu koji kritiÄki prati suvremene kulturne procese i njihovoj ulozi u danaÅ”njem svijetu, a posebno Äu govoriti o kulturalnim studijima u Birminghamu i Rijeci
TOWARDS A DIALOGUE BETWEEN SOCIOLOGY AND CULTURAL STUDIES
Kulturalni studiji nastali su kao reakcija na britansku pozitivistiÄku sociologiju. S vremenom je pojam kulturalnih studija postao Å”iroko upotrebljavan, tako da se cijeli pokret treba smatrati iznimno heterogenim. U radu se istiÄu nedostaci nepostojanja znanstvene
metodoloÅ”ke strogosti u odreÄenim radovima kulturalnih studija. TakoÄer se upozorava na opasnost prenaglaÅ”avanja moguÄnosti svakodnevnog otpora, koja se najÄeÅ”Äe javlja u radovima koji kulturalne studije vide kao antiinstitucionalni angažirani pokret. Pravac politiÄke ekonomije koji je nastao kao reakcija na postmoderne pravce u kulturalnim studijima, razmotren je kao pravac najsrodniji poÄetnim namjerama birminghamskog centra
u kojem su kulturalni studiji i nastali. U dijalogu sociologa i osoba koje se bave kulturalnim studijima, prvi bi trebali kulturalne studije shvatiti kao moguÄ izvor inovacija u druÅ”tvenim znanostima, dok potonji, kao interdisciplinarni projekt, u sociologiji mogu vidjeti nužan i koristan oslonac.Cultural studies emerged as a reaction to British positivist sociology. In time the term ācultural studiesā became widely used, so the whole movement should be considered extremely heterogenous. This paper emphasises disadvantages of the lack of scientific methodological strictness in certain works in cultural studies. It also points out dangers of overemphasising possibilities of everyday resistance which show up in texts that see cultural studies as antiinstitutional engaged movement. The political economy approach which emerged as a reaction to postomodern tendencies in cultural studies is taken
into consideration as the most similar to the first intentions of the Birmingham centre in which cultural studies appeared. In the dialogue between sociologists and people who do cultural studies, the first should see cultural studies as possible source of inovations
in social sciences, and the latter, as the interdisciplinary project, can see a neccessary and useful backup in sociology
TOWARDS A DIALOGUE BETWEEN SOCIOLOGY AND CULTURAL STUDIES
Kulturalni studiji nastali su kao reakcija na britansku pozitivistiÄku sociologiju. S vremenom je pojam kulturalnih studija postao Å”iroko upotrebljavan, tako da se cijeli pokret treba smatrati iznimno heterogenim. U radu se istiÄu nedostaci nepostojanja znanstvene
metodoloÅ”ke strogosti u odreÄenim radovima kulturalnih studija. TakoÄer se upozorava na opasnost prenaglaÅ”avanja moguÄnosti svakodnevnog otpora, koja se najÄeÅ”Äe javlja u radovima koji kulturalne studije vide kao antiinstitucionalni angažirani pokret. Pravac politiÄke ekonomije koji je nastao kao reakcija na postmoderne pravce u kulturalnim studijima, razmotren je kao pravac najsrodniji poÄetnim namjerama birminghamskog centra
u kojem su kulturalni studiji i nastali. U dijalogu sociologa i osoba koje se bave kulturalnim studijima, prvi bi trebali kulturalne studije shvatiti kao moguÄ izvor inovacija u druÅ”tvenim znanostima, dok potonji, kao interdisciplinarni projekt, u sociologiji mogu vidjeti nužan i koristan oslonac.Cultural studies emerged as a reaction to British positivist sociology. In time the term ācultural studiesā became widely used, so the whole movement should be considered extremely heterogenous. This paper emphasises disadvantages of the lack of scientific methodological strictness in certain works in cultural studies. It also points out dangers of overemphasising possibilities of everyday resistance which show up in texts that see cultural studies as antiinstitutional engaged movement. The political economy approach which emerged as a reaction to postomodern tendencies in cultural studies is taken
into consideration as the most similar to the first intentions of the Birmingham centre in which cultural studies appeared. In the dialogue between sociologists and people who do cultural studies, the first should see cultural studies as possible source of inovations
in social sciences, and the latter, as the interdisciplinary project, can see a neccessary and useful backup in sociology
Cultural Studies and its Contribution to Understanding the Phenomena of Rapid Museum Growth
āMuzejski boomā fenomen je ubrzanog rasta muzeja tijekom posljednjih nekoliko desetljeÄa. Unutar diskursa kulturalnih studija pokuÅ”at Äu pronaÄi razloge progresivnog rasta muzeja, zatim obrazložiti znaÄenje uloge muzeja unutar suvremenog druÅ”tva kao i u kontekstu raznovrsnih odnosa moÄi analizirajuÄi tekstove nekoliko najznaÄajnijih teoretiÄara kulture (R. Williams, S. Hall, R. Johnson, T. Bennett, T. Eagleton). PreispitujuÄi pojmove āživljenaā/āzabilježenaā kultura, kultura āselektivne tradicijeā, ādokumentarnaā, āidealnaā i āsocijalnaā kultura, āstruktura osjeÄajaā, identitet/āidentifikacijaā, pokuÅ”at Äu odgovoriti na pitanje odgovaraju li muzeji doista na potrebe koje ih stvaraju i jesu li nam uopÄe potrebni.The āmuseum boomā is the phenomenon of rapid growth in the number of museums over the last several decades. I will try to find the reasons for the progressive growth of the number of museums from the standpoint of the discourse of cultural studies, explain the meaning of the role of museums in contemporary society and in the context of various relations of power through the analysis of texts of the several most prominent cultural theorists (R. Williams, S. Hall, R. Johnson, T. Bennett, T. Eagleton). Through the questioning of the terms ālivedā/ārecordedā culture, the culture of the āselective traditionā, ādocumentaryā, āidealā and āsocialā culture, the āstructure of feelingsā, identity /āidentificationā, I will try to answer the question whether museums really meet the needs they create and whether we need them at all
Communication Campaign Analysis of the Most Famous Croatian Brands: Attempt to Create Iconic Brands
IkoniÄki brendovi su robne marke koje su postale dio popularne kulture. Oni predstavljaju Å”ire aspekte od samog proizvoda. Uz pomoÄ njih potroÅ”aÄi kreiraju vlastite identitete, takve robne marke postaju dio njihove svijesti i kulture. IkoniÄki brendovi su ikone kulture jednako kao i glazbenici, glumci i ostali umjetnici. Njihova tržiÅ”na komunikacija i proces kreiranja razlikuje se od ustaljenih tehnika koriÅ”tenih za stvaranje brenda. Tradicionalni modeli brendiranja kao Å”to su āmind-shareā model, emocionalno brendiranje te, danas Äesto koriÅ”teno, viralno brendiranje mogu stvoriti uspjeÅ”an brend, meÄutim on neÄe postati ikona. Kod takvih modela
naglasak je na oÄitoj koristi proizvoda, emocionalnim aspektima ili na konzumentima za koje se smatra da imaju odreÄeni utjecaj na ostale potroÅ”aÄe. Model koji služi za kreiranje ikoniÄkih brendova naziva se kulturalno brendiranje. Kulturalno brendiranje koristi sve tehnike tradicionalnih modela brendiranja, ali uz to dodaje i jednu bitnu stavku, a to je kreiranje mita povezanog s brendom i smjeÅ”tanje u odreÄeni druÅ”tveni kontekst. Mit je svojevrsna priÄa koja se koristi za kreiranje identiteta brenda. Mit prelazi granice jednostavnog opisivanja proizvoda. On je dio Å”ire kulturalne ideologije. IkoniÄki brendovi tako postaju kulturalne ikone i kulturalni aktivisti. Robne marke koje se smatraju ikonama, a na kojima su opisane tehnike kreiranja ikoniÄkih brendova su Harley Davidson, Nike, Volkswagen i Apple. PromatrajuÄi proces nastanka tih ikona meÄu robnim markama, zanimljivo je istražiti naÄin na koji su najpoznatije hrvatske robne marke provodile svoje tržiÅ”ne komunikacije. Upravo je zbog toga provedena analiza sadržaja oglasa Podravkine Vegete, Cedevita vitaminskog napitka, Jamnica mineralne vode, Franck kave te Ožujskog piva ZagrebaÄke pivovare. Provedenim istraživanjem utvrÄeno je predstavljaju li se neke od navedenih robnih marki na naÄin koji je blizak ikoniÄkim brendovima.Iconic brands are brands that have become a part of a popular culture. They represent broader aspects than the product itself. With their help, consumers get to create their own identities, such brands become part of their consciousness and culture. Iconic brands are cultural icons just as much as musicians, actors, and other artists. Their market communication and creation process differ from the usual techniques used to create the brand. Traditional branding models such as the "mind-share" model, the emotional branding model, and today's often used, the viral branding model, can create a successful brand, but it will not become an icon. Such models emphasize obvious benefits of products, emotional aspects, or consumers that are considered to have a certain impact on others. The branding model that creates an iconic
brand is called ācultural branding model. Cultural branding model uses all the techniques of traditional branding models but adds one more important element - creating a myth related to the brand and placing it in a particular social context. Myth is a kind of story used to create an identity of a brand. The myth goes beyond the limits of a simple description of the product. It is part of the broader cultural ideology. Thus, iconic brands become cultural icons and cultural activists. Brands that are considered as iconic and that served as an example for describing techniques of creating iconic brands are Harley Davidson, Nike, Volkswagen, and Apple. Observing the process of creating these icons among brands, it is interesting to explore the way the most famous Croatian brands conducted their market communications. That is why the analysis of the content of Podravka Vegeta, Cedevita vitamin drink, Jamnica mineral water, Franck coffee and Ožujsko pivo from Zagreb Brewery was performed. The research determined whether some of the mentioned brands are presented in a way that is closely related to iconic brands
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