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ISSN 1409-6900 | UDK 82+7     Blesok no. 47 | volume IX | March-April, 2006



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                     Peer-reviewed journal
Blesok no. 47March-April, 2006
Theatre Theory

Interculturalism: Trends, Exotica, Aesthetics, Poetics and… So Forth!

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Jelena Lužina

    What do we, in fact, talk about when we talk about interculturalism?
    What do we refer to when, more and more often and with an ever greater eagerness, or even casually, we use (or even abuse) this ambiguous, powerful, strongly superfluous culturological term, a term which, since the end of the 1960s, has in an imposing manner grown into a respectable methodological category?
    Most importantly, how and why is this respectable methodological category constantly ‘imposed’ on an ever-growing number of scholarly areas which become more and more varied and which in different ways promote the culturological perspective of contemporary phenomena, from anthropology, sociology and comparative literature to communicology? The same can be said of theatrology, a scholarly field which is to us, at this very moment, the most intriguing among them, an exceptionally dynamic “scholarly field within the framework of social science and the humanities which, through a number of scholarly disciplines, strives to interpret the origin, manner of operation, functions and the artistic and expressive determinants of the theatre not only in the diachronical, but also in the synchronical aspect of its forms of expression” (Batušić, 1989:9).
    Dictionaries of literary and/or theatrical terms define interculturalism as a specific philosophical and aesthetic PERSPECTIVE which allows a view of the integral cultural system (culture understood and ‘practiced’ as an integral system) as a provocative, dynamic, practically unlimited COMMON field of permanently interactive action open in an Eco-like manner to all THAT and to all THOSE that participate in its permanent ‘happening’, regardless of whether they participate in it “intentionally” (in which case we can speak of programmed participation) or simply because they were ‘caught in the act’/carried away by the inductive force of the very (magnetic) field of interculturalism. Ergo, this definition suggests that the famous field of interculturalism functions in an almost mythical manner – as a field which is practically without boundaries and, in fact, endless.
    In more simple terms, the intercultural concept involves the inclusion/activation of (most) diverse cultures which – in a certain context and/or moment, because they have, for a number of reasons, only/randomly intertwined, or perhaps because their mutual contact was intentional in order to accomplish a certain creative or hermeneutical mission and/or goal – pragmatically join forces in/around a concept which had previously been recognized as potentially common. The merging, of course, presupposes an initial contact (of the various cultures in focus) which is then expressed as an






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