Cultural Institution Blesok • Established 1998
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ISSN 1409-6900 | UDK 82+7     Blesok no. 01 | volume I | March, 1998



                     Peer-reviewed journal
Blesok no. 01March, 1998

Internet in Action

p. 1
Aleksandar Prokopiev

    It is well known how much Borges influenced the poetic attitudes of the post-modern literary theorists and on the other side it is evident that the leading post-modern thinkers, especially the French have been widely accepted in the universities in America (with the recognizable American excess of enthusiasm). By Internet the term postmodernism is entering a global (worldwide) use, with particularly enlarged potential for informing the average consumer. Discussing the post-modernism becomes natural among so called laymen, who use the terms: inter-textual-ness, margin, patchwork, citation – a small arsenal for a primary education on the postmodernism. The change in the taste, characteristic for the XX century, (that Gillo Dorfles convincingly shows in the example of the reception of the modern art [1]) becomes at the end of the century mach more confusing.
    On one side is the theory of literature with the ongoing influence and self-sufficiency of its meta-language, which apart of its intention to be categorical in a nonobligatory way is inclined to produce new terms. On the other side are the consumers of the literature, the readers, who, despite having passed the “first and second grade” of the postmodernism, enjoy in devouring the “enlightening” works of Coelho, Mandingo, Peck and particularly – in watching movies.
    The visual communication is becoming the most practiced and the most exploited medium of the contemporary mass-culture. The consuming of movies, TV news, series, spots, political, sport or musical spectacles, almost always blended with technologically well designed advertisements, is day to day habit of the “average” TV consumer. The relation between that consumer and the so called “soap opera”, his imaginary living the lives of the protagonists of these forever going, predictable stories is often put under scrutiny. “The hero is some how immortal. He is an extended now, respectively nothing, “tree without roots”. By the reason that nothing happens to him (essence), everything could happen to him (essence). Often, in some series, happens that a hero is killed several times.
    Even then, when in his underwear he falls from a plane, we don’t have to worry for him. Because he certainly will be back the next episode, where it will be shown how some bad guys are shooting him, apparently international terrorists from a left provenience [2]”. The absurdity of the plot of the “soap opera” is covered by its commercial value, measured by the number of the episodes filmed, and the ratings, supported in


1. Gillo Dorfles: “Oscilacije ukusa I moderne umjetnosti”, Mladost, Zagreb,1963
2. Bogdan Tirnanić, “Animirani svet junaka bez svojstava”, Književne novine, Beograd, 1. XII. 97, str. 7

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