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Статья поступила в редакцию 25.09.2015 г. В статье рассматриваются особенности творческого метода М. А. Врубеля на примере создания композиционной системы картины «Царевна-Лебедь». Мастер, организовывая, генерируя композицию, никогда не имел какой-то отдельной формальной схемы в виде рисунка или чертежа. Моделирование изображения и его композиционное согласование — единый процесс. В ходе работы над композициями художник постоянно обращается к классическим «формулам» и конкретно к произведениям Рафаэля. Врубель расширил свое понимание классики, обогатив его восприятием византийской культуры и, в частности, древнерусского искусства. Этот синтез представляет собой альтернативу дифференцированности отечественного искусства второй половины ХIХ — начала ХХ в., для которого важна была возможность позиционировать себя как «национальное». В картине «Царевна-Лебедь» за явным «театрально-сказочным» сюжетом у Врубеля скрывается другой, более важный — раскрытие темы метаморфозы, превращения, трактуемого как преображение, восходящего к общехристианскому пониманию смерти как преддверия воскресения. The article considers the peculiarities of M. A. Vrubel’s artistic method referring to the compositional system of his Princess Swan painting. When organizing and generating the composition, the master never had any formal scheme in the form of a drawing or draft. The modeling of a picture and its compositional arrangement are a uniform process. Working on compositions, the artist constantly turns to the classic formulae and Raphael’s works in particular. Vrubel widened his understanding of classical works of art, enriching it by learning about Byzantine culture and Old Russian art. This synthesis is an alternative for the differentiation of mid-19th — early 20th century Russian art that considered it important to realize itself as national. In his Princess Swan painting behind the evident theatrical and fairy-tale plot, Vrubel concealed another and more important one, i.e. the theme of metamorphosis and transformation interpreted as something rooted in the universal Christian understanding of death as a step towards resurrection.

Никола Несторовић један је од најзначајнијих архитеката у Србији, чије је стваралаштво обележило и обогатило, београдску и српску архитектуру током последње деценије деветнаестог и прве деценије двадесетог века. Иако је у историографији препознат као носилац новог стила сецесије, као и да је његов градитељски опус имао утицај на развој новије српске архитектуре, целокупан стваралачки, научни и стручно-публицистички рад, до сада није био предмет посебног истраживања. Ова дисертација има за циљ да истражи све аспекте деловања Николе Несторовића, са посебним освртом на контекст у коме је стварао, кроз дефинисање утицаја и извора под којим су дела настајала, као и подстицајних али и негативних утицаја средине, који су се одразили на његово стваралаштво. Тежиште рада је на расветљавању појединачних фаза и појава, поређењем са примерима из окружења, као и из средина које су могле да имају непосредни утицај на његово професионално деловање и градитељски опус. У складу са предметом и циљевима проучавања, истраживање је темељено на историографском методу заснованом на прикупљању, анализирању, класификацији и квалификацији свих доступних примарних и секундарних извора од значаја за исцрпно истраживање улоге и стваралаштва Николе Несторовића. До данас је познато да је пројектовао шездесетосам објеката, углавном јавне, пословне и стамбене намене, док се у домену сакралне архитектуре опробао на два пројекта, односно конкурсна рада. Стваралачка делатност од три деценије и велика продуктивност, омогућили су свеобухватно сагледавање, не само пројектантског опуса аутора, него и српске архитектуре тог периода и појединих њених најзначајнијих примера, чији је управо Несторовић аутор. Образован у духу академизма, а савремен у схватањима, током целог стваралачког рада кретао се између академских постулата и савремених сецесијских тежњи, под утицајем средине у којој је стварао. На почетку каријере канони академизма су му послужили као сигурни и проверени ослонац, да би кроз сарадњу са архитектом Андром Стевановићем, остварио већу сигурност и слободу у индивидуалнијем уметничком изразу... Nikola Nestorović is one of the most important Serbian architects, whose work marked and enriched architecture of Belgrade and Serbia during the last decade of the nineteenth century and the first decade of the twentieth century. Although recognized in historiography as the representative of a new style of Secession, and despite the fact that his architectural oeuvre had a strong impact on the development of modern Serbian architecture, his entire creative, scientific and professional-journalistic work so far has not been the subject of a separate study. This thesis aims to explore all aspects of the work of Nikola Nestorović, with special reference to the context in which it was created, by defining influences and sources under which the work evolved, as well as incentives and negative environmental impacts which reflected to his creativity. The focus of this research is to shed light on the individual phases and phenomena, by comparing them with examples from the vicinity, as well as the cultural centers that could have the direct influence on his professional activities and architectural opus. In accordance with the object and purpose of the study, the research is found on historiographical method based on the collecting, analyzing, classification and qualification of all available primary and secondary sources relevant to exhaustively research the role and creativity of Nikola Nestorović. Until now, it is known that he designed sixty eight buildings, mostly public, commercial and residential, while in the domain of religious architecture he participated on two architectural competition. Highly productive creative opus, which lasted for three decades, provided the ground for the comprehensive understanding, not only of the works of the author, but also of the Serbian architecture of that period, period in which some of most important examples have been created by Nestorović. Educated in the academic style, having contemporary perceptions, throughout his creative work Nestorović ranged from academic postulates to contemporary Secession tendencies, influenced by the environment in which he created. At the beginning of his career, the academic canons served as a safe and proven base ground for his creations. Afterwards, through collaboration with the architect Andra Stevanović, Nestorović reached more confident and highly individual artistic expression. Acceptance of Secession and modern aspirations had a deeper basis in Nestorović contemporary personality and his constant search of new formal, functional and structural possibilities of architecture...

The article touches upon the influence of a mass culture on an artistic-pedagogic subject-matter as included in several important issues. The whole work has been divided into five thematic parts. These are: 1. Three principles of education. 2. Academism and kitsch. 3. A metaphysical nature of art. 4. An artistic output as a game. 5. On hierarchy. In the first one, the author widely discusses a multiplicity of relations happening between an artistic education and art popularization, as well as selected components characterizing culture. In so doing he refers to three definitions of a mass culture, that is the one by Dwight Macdonald, Marshall McLuhan and Jose Ortega’y Gasset, and contrasts them with three principles of education. Here is their short description: 1. It introduces us into various issues according to the previously assumed hierarchy considered unchangeable and universal. 2. It teaches a critical perception of the very issues through the clash of a multiplicity of norms, opinions, aesthetics and cognitive methods, namely through relativism that constitutes a primary feature of this principle. 3. It consists in teaching ways of realizing tasks and is rather devoid of intellectual bases. It is fairly often in the pedagogical practice, but when it comes to its topicality later on, it is mostly endangered out of these three conceptions. The part Academism and kitsch concerns the functioning of a stereotype of imaginations on art in different social groups. It is a common opinion that culturally worse groups and social classes should be brought up in the spirit leading them to the stereotype of imaginations on art and opinions of a higher group, and, as a result, communing with a subsequent current academic nature that is the model of preferences. The third part presents a characteristic of art itself in relation to the disappearance of its metaphysical representation in favour of common inspirations. One should remember that a small circle of metaphysicians always dominated over educational habits of a statistic majority, which allowed shaping a modern hierarchy of works and creators. The forth part describes an artistic output as a kind of a game with the fate. Nowadays, the very game is absorbed by a naughty, and extra-individual participation in a ceremony of a different aspect of a festival, as a bawdy happiness of relaxation in the rhythmic and colourful, which ends up in the delight of entertainment, combined with buying beautiful souvenirs, in a different world of carousels and disco. The whole closes with a text on hierarchy where two different ways of a social presence of a pyramid of works and artists.

Bachelor thesis Art, avant-garde and kitsch in works of Clement Greenberg and Matei Călinescu deals with kitsch in relation to avant-garde and to contemporary art, and to the visual arts in general. It is primarily based on the essay Avant-Garde and Kitsch by American critic Clement Greenberg and the essay Kitsch by Romanian literary scholar Matei Călinescu. The first part is devoted to outlining the concept of kitsch according to these two theorists, with an emphasis on the thinking about the origin and nature of kitsch. The second part deals with revising Greenberg's beliefs that condemn popular culture, official culture and academism for kitsch and highlights avant-garde as the only worthy manifestation of art of his time. On this basis, the work examines why avant-garde seemed like the pure opposite of kitsch in the thirties, and why to the contrary today we find that contemporary art is often influenced by kitsch.

Nikola Nestorović is one of the most important Serbian architects, whose work marked and enriched architecture of Belgrade and Serbia during the last decade of the nineteenth century and the first decade of the twentieth century. Although recognized in historiography as the representative of a new style of Secession, and despite the fact that his architectural oeuvre had a strong impact on the development of modern Serbian architecture, his entire creative, scientific and professional-journalistic work so far has not been the subject of a separate study. This thesis aims to explore all aspects of the work of Nikola Nestorović, with special reference to the context in which it was created, by defining influences and sources under which the work evolved, as well as incentives and negative environmental impacts which reflected to his creativity. The focus of this research is to shed light on the individual phases and phenomena, by comparing them with examples from the vicinity, as well as the cultural centers that could have the direct influence on his professional activities and architectural opus. In accordance with the object and purpose of the study, the research is found on historiographical method based on the collecting, analyzing, classification and qualification of all available primary and secondary sources relevant to exhaustively research the role and creativity of Nikola Nestorović. Until now, it is known that he designed sixty eight buildings, mostly public, commercial and residential, while in the domain of religious architecture he participated on two architectural competition. Highly productive creative opus, which lasted for three decades, provided the ground for the comprehensive understanding, not only of the works of the author, but also of the Serbian architecture of that period, period in which some of most important examples have been created by Nestorović. Educated in the academic style, having contemporary perceptions, throughout his creative

Competence is a term with multiple senses. According to its place in a discourse, it’s natural to recognize in every language the meaning of a word. The sense of the term “competence” depends on who is using it and what type of approach it’s been proposed. Language is not neutral, not even the terms. Its use defines its specific sense. In the last two decades the term “competence” has been transformed in a sack-word. Consequently, it exist the ambition to establish a unique sense of the word. In this work I will try to show some of the senses of the term “competence”, and, at the same time, I invite to consider the difference between academic competences and professional competences when we want to orientate the evaluation processes in education. Existen diversos sentidos del término competencia. Es natural en toda lengua reconocer la significación de los términos según el lugar que ocupan en los discursos. Sobre el término competencia es necesario inferir su sentido según sea el enfoque de quien lo propone. El lenguaje nunca es neutral, ni tampoco los términos tienen un único sentido. Es su uso lo que determina el sentido. En las dos últimas décadas el término competencia se ha convertido en una palabra-saco y, en consecuencia, se ha tenido la pretensión de acuñar un único sentido del término. Aquí se intenta exponer algunos de los sentidos que se desprenden del uso del término “competencia” invitando a considerar la diferencia entre competencias académicas y competencias profesionales cuando se trata de orientar los procesos de evaluación de la educación.