Okultura u poetici Marine Abramović
Occulture in poetics of Marina Abramović; Оккультура в поэтике Марины Абрамович
Doktorand
Pešić, Nikola J.Mentor
Radulović, NemanjaČlanovi komisije
Marković, LjiljanaRajčević, Simonida
Metapodaci
Prikaz svih podataka o disertacijiSažetak
Svrha ove studije je da se istraži značaj okulture (K. Partridž) u radu srpske savremene
umetnice Marine Abramović. Prvo su predstavljene metode akademske discipline nazvane
studije zapadnog ezoterizma. Budući da se radi o relativno mladoj disciplini, predstavljeno
je nekoliko važnih ličnosti koje su doprinele njenom razvoju. Istovremeno, pružene su
različite definicije često kontroverznih pojmova koji će biti korišćeni u analizi, poput
ezoterizma, okultizma ili nju ejdža. Na kraju pregleda naučnog proučavanja ezoterizma,
predstavljen je sociološki koncept okulture Kristofera Partridža, koji će ovde biti
primenjen kao sveobuhvatni termin u analizi umetnosti Marine Abramović.
Na početku analize predložena je periodizacija života i dela Marine Abramović,
podelom na: 1) beogradski period, 1970-1976; 2) period rada s Ulajem, 1976-1988;
3) period afirmacije, 1988-2002; i 4) period konsolidacije, 2002-trenutno. Ponuđen je
kratak pregled stručne literature o Abramovićevoj, koja je podeljena p...rema pristupu na:
1) proezoteričnu, 2) feminističku i 3) biografsku. Pružen je zatim prikaz društvenog i
kulturnog konteksta perioda socijalističke Jugoslavije 1970-ih, unutar kojeg je umetnica
započela karijeru. Oslanjajući se na koncept okulture i kontrakulture (T. Rošak) —
odnosno njene specifične verzije u socijalističkoj Jugoslaviji (R. Vučetić) — predložena
je heuristička podela jugoslovenske kontrakulture na dve struje: 1) novu levicu i 2) hipi
okulturu, nakon čega je data kratka analiza njihovih glavnih uticaja na jugoslovensku
kulturu kraja 1960-ih i početka 1970-ih. Predstavljen je uticaj ideja nove levice na
pojedine teoretičare i umetnike tzv. nove umetničke prakse, okupljene u Beogradu oko
Studentskog kulturnog centra. Dat je prikaz već poznatog uticaja hipi okulture na
neoavangardno pozorište. Zatim je pružena detaljnija analiza „kompleksa ezoteričnih
pojava” (M. Šuvaković) na neoavangardne jugoslovenske umetničke grupe OHO, Kôd,
(Э i (Э-Kôd, odnosno stvaranje umetničkih komuna: Porodice u Šempasu i Porodice
bistrih potoka. Razmotren je uticaj okulture na beogradsku urbanu kulturu, na primeru
časopisa Izgled. Okultura na filmu predstavljena je na primeru WR: Misterije organizma
(1971) Dušana Makavejeva. „Okultni bum” (G. Đurđević) u jugoslovenskom izdavaštvu...
Aim of this study is to trace the relevance of the occulture (C. Partridge) in the work of
the Serbian contemporary artist Marina Abramović. At the beginning, tools and methods
of the academic discipline Western Esotericism Studies are presented. Since it is a
relatively new discipline, several important figures which have contributed to its
development are discussed. At the same time, various definitions of the terms, often
controversial — such as esotericism, occultism, and New Age — will be introduced and
employed in the analysis. At the end of the survey of the scholarly study of esotericism,
Christopher Partridge’s new sociological concept of occulture is presented as an allencompassing
term in order to be applied later in the analysis of Marina Abramović’s art.
At the beginning of the analysis the following periodization of the life and the work
of Marina Abramović is proposed: 1) Belgrade period 1970-1976; 2) period of work with
Ulay, 1976-1988; 3) affirmation period, 1988-2002;... 4) consolidation period, 2002-now.
Short review and the following classification of the exsisting literature on Abramović is
given, according to its approach: 1) pro-esoteric, 2) feministic i 3) biographical. Review
of the social and cultural context of the period of the socialist Yugoslavia in the 1970s in
which the artist started her carrier is given. Following the concept of the occulture (C.
Partridge), and counterculture (T. Roszak) — and its specific version in socialistic
Yugolavia (R. Vučetić) — a heuristic classification of the Yugoslav counterculture is
given, as following: 1) New Left, and 2) hippie occulture. After that, a short analysis of
these two countercultural currents’ influences on Yugoslav culture at the end of the 1960s
and the beginning of the 1970s is given. The influence of the New Left on certain
theoreticians and artists of the so called “new artistic practice,” gathered around the
Student Cultural Centre in Belgrade, is elaborated. An overview of the well known
influence of the occulture on the neo-avant-garde theatre is given. Additionally, a more
detailed look at the influence of what M. Šuvaković calls “complexes of the esoteric
phenomena” on neo-avant-garde artistic groups such as OHO, Kôd, (Э i (Э-Kôd, and the
creation of the artistic communes Family in Šempas and Bistri potok family, is given. The...