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Matica Srpska Department of Social Sciences Synaxa Matica Srpska International Journal for Social Sciences, Arts and Culture MATICA SRPSKA DEPARTMENT OF SOCIAL SCIENCES SYNAXA MATICA SRPSKA INTERNATIONAL JOURNAL FOR SOCIAL SCIENCES, ARTS AND CULTURE Established in 2017 1 Editor-in-Chief Časlav Ocić (2017‒ ) Editorial Board Nenad Makuljević (Belgrade) Dušan Rnjak (Belgrade) Katarina Tomašević (Belgrade) Editorial Secretary Jovana Trbojević Language Editors Biljana Radić Bojanić Tamara Verežan Jovana Marinković Olivera Krivošić Sofija Jelić Proof Reader Aleksandar Pavić Articles are available in full-text at the web site of Matica Srpska http://www.maticasrpska.org.rs/ Copyright © Matica Srpska, Novi Sad, 2017 SYNAXA СИН@КСА♦ΣΎΝΑΞΙΣ♦SYN@XIS Matica Srpska International Journal for Social Sciences, Arts and Culture 1 NOVI SAD 2017 Publication of this issue was supported by City Department for Culture of Novi Sad WHY SYNAXA? In an era of growing global interdependence and compression of history, any sort of self-isolation might not only result in provincialization, peripheraliza- tion, or self-marginalization, but may also imperil the very survival of nations and their authentic cultures. In the history of mankind, ethno-contact zones have usually represented porous borders permeable to both conflict and cooperation. Unproductive conflict has been, by default, destructive, while the fruitful in- tersection and intertwining of cultures has strengthened their capacities for creative (self)elevation. During all times, especially desperate and dehuma- nizing ones, cultural mutuality has opened the doors of ennoblement, i.e., offered the possibility of bringing meaning to the dialectic of the conflict between the universal material (usually self-destructive) horizontal and the specific spiritual (auto-transcending) vertical. It would be naïve and pretentious to expect any journal (including this one) to resolve these major issues. In 2017, Matica Srpska founded Synaxa – International Journal for Social Sciences, Arts аnd Culture. Synaxa is a scientific journal, whose authors try to contribute to an explana- tion (and understanding) of long-term phenomena and processes of a structural character and strategic specific weight. Nowadays, tendencies towards knowledge integration prevail globally: therefore, the Journal will be supporting and encouraging a trans- or postdisciplinary (problem-oriented) instead of a narrow specialist approach. Comparative perspective is welcome, while multiperspec- tivity is, more or less, expected. This Journal gathers, collects… people and ideas; it is a place of dialogue. It is, therefore, a SYNAXA! Because: synaxa means: gathering, encounter, assembly, convocation. Some people believe that the Balkans (the “First Europe”) are the point where the signs of forthcoming changes first appear. If the Balkans are a “hete- rotopia,” where the Central Global Seismometer is located, then all those who are preparing for the future (and care about it) should be focusing on the Bal- kans. And reading Synaxa. Because, in the post-truth era, it still strives to be a “different place,” where the truth is sought with monastic dedication. Editor-in-Chief CONTENTS ARTICLES AND TREATISES Milanka Todić CONSUMER CULTURE UNDER CONSTRUCTION, THE REPRESENTATION OF WOMEN IN PRINTED ADVERTISEMENTS (1900‒1940) 1–27 Aleksandar Kadijević EXPRESSIONISM AND SERBIAN INDUSTRIAL ARCHITECTURE 29–39 Vladimir Ž. Milisavljević HUMAN NATURE AND STASIS: ON THE INFLUENCE OF THUCYDIDES ON HOBBES’ SCIENCE OF POLITICS 41–58 Marijana Kokanović-Marković PRODUCTION OF SERBIAN SALON MUSIC IN THE 19TH CENTURY IN THE CONTEXT OF THE BIRTH OF MUSIC PUBLISHING 59–75 Aleksandar Vasić FOREIGN MUSIC IN BELGRADE BETWEEN THE WORLD WAR WARS: RECEPTION IN THE HERALD OF MUSIC SOCIETY “STANKOVIĆ” / MUSIC HERALD 1928–1941 77–89 Ivana Vesić THE EXPANSION OF POPULAR MUSIC IN INTERWAR YUGOSLAVIA: THE EXAMPLES OF PUBLISHING HOUSES OF JOVAN FRAJT AND SERGIJE STRAHOV 91–107 Duško Kuzović VAJATS IN THE VILLAGES ON THE SOUTHERN SLOPES OF THE POVLEN MOUNTAIN 109–130 Milena Vidosavljević THE SEPHARDIC JEWISH COMMUNITY OF NIŠ 131–146 Milica Solarević i Bojan Đerčan SREMSKA MITROVICA AND ŠABAC 1900–2011: HISTORICAL DEMOGRAPHIC DETERMINATION OF FERTILITY BY THE MARRIAGE FRAMEWORK 147–163 Slađana Vidosavljević THE BEGINNINGS OF INSTITUTIONAL VOCATIONAL TRAINING AND EDUCATION OF FEMALE CHILDREN IN SERBIA 165–173 BOOK REVIEWS Marija Ćirić TOWARDS NEW PAGES OF THE HISTORY OF SERBIAN MUSIC (Melita Milin and Jim Samson, Serbian Music: Yugoslav Contexts, SASA Institute of Musicology, Belgrade 2014) 175–177 Michael Antolović AGAINST STEREOTYPES AND MISCONTEPTIONS (Miloš Ković, Gavrilo Princip. Documents and Memories, Novi Sad: Prometej, RTS, Beograd 2014) 177–179 Dejana Ocić NOBILITY AS A CHOICE (Radovan Popović, Aristocrat of the Spirit – A Biography of Milan Kašanin, Matica srpska, Novi Sad 2016) 180–182 AUTHORS IN THIS ISSUE 183–187 ARTICLES AND TREATISES ORIGINAL SCIENTIFIC PAPER CONSUMER CULTURE UNDER CONSTRUCTION, THE REPRESENTATION OF WOMEN IN PRINTED ADVERTISEMENTS (1900‒1940) MILANKA TODIĆ University of Arts in Belgrade, Faculty of Applied Arts Kralja Petra 4, Belgrade, Serbia [email protected] SUMMARY: In the context of mass production of media images, the early appearance of illustrations in the popular structure of advertisements is an ex- tremely valuable indicator of a revolutionary shift of attention — from words to image — which occurred in Serbian print media at the end of the 19th century. The crucial role in the shaping of both the visual and the textual aspect in mass printed media was played by the appearance of finished clothing products around 1900, the majority of which were made for women, both in European countries and in Serbia. The industrial production of ready-made clothing was accompanied by new shops and department stores as well as illustrated printed advertisements. It can be said that the industrial production of products was closely followed by the mass production of images. KEY WORDS: advertisement, image, illustrations, modern, women’s studies, print media. In the 19th century, advertising pages contained information about fairs, bazaars, dinner dances at civil clubs, educational books, and even cigarettes for teeth, against toothache [Janc 1978]. Chaotic and heterogeneous pages with cultural programs and advertisements have been offered to generations of readers, informally, as a form of relaxation, on the last pages of newspapers and magazines, after all the important events [Peković 2004], and this established hierarchy in the informative content of print media functions in more or less the same way today. But no matter how exciting and varied the contents of those messages have been through the years, their visual form has preserved the frozen façade of framed and scanty textual information. The graphic designers’ uniformity of advertisement design did not change for decades in most Serbian-language newspapers and magazines published during the nineteenth century. It would, thus, be easy to conclude that the adver- tising message was articulated almost exclusively in the text of the advertisement, 2 while the visual aspect was of secondary significance in the communication with the readers. Rarely, decorative frames and symbolic graphic signs appeared, among which the best known was the hand with the extended index finger. Clichés taken over from illustrated catalogues were the only source of the scanty visual presentations in printed advertising messages during the 19th century. The typified visual forms, which were multiplied without any apparent con- nection to the products, built a harmonious relationship with the clichés in the textual portions of the advertisements. Entire phrases in advertisements were so monotonously repeated on pages of various newspapers, as is the case today, that even a quick glance was sufficient to find the needed information. The benumbed, cliché-ridden attention of the readers of the Serbian was broken in the last decade of the 19th century when the first advertisements with illustrations appeared1. First the “fashionable shops”, like the shop Roza Štern and son, sought new tactics for advertising corsets, hats and parasols2 [Narod 1896; Janc 1978]. The key innovation occurred when the informative text was moved to one side, precisely to the margin, to show the image of the advertised product in the central position of the advertisement. Of course, this was just a drawing – an amateur illustration of the most desirable and most delicate part of the woman’s costume of that time – the girdle or corset. Other items would soon gain this privileged status as well, adding a visual presentation to the textual one. By about 1900, schematic drawings had already taken over the newspaper advertising pages. In essence, the predictably patterned forms of textual narration in advertisements were complementary with the extremely stylized graphic illustrations of the advertised objects. However, in the context of the mass production of media images, the early appearance of illustrations in the popular structure of advertisements was quite a valuable indicator of the revolutionary change in the focus of attention – from words to image – which occurred in Serbian print media at the end of the 19th century. The appearance of ready-made garments around 1900, the majority of which were intended for women – both in Europe and in Serbia – was of cru- cial importance for the shaping of the visual, rather than just the textual, aspect of communication in the mass print media. Industrial garment production was accompanied by the appearance of new
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