Velinov, Marija

Link to this page

Authority KeyName Variants
8594fbf0-809e-4729-a788-84eeebed51ec
  • Velinov, Marija (13)

Author's Bibliography

Фотографије Сондеркоманда као непослушни акт виђења

Velinov, Marija

(Београд: Завод за проучавање културног развитка, 2020-12)

TY  - JOUR
AU  - Velinov, Marija
PY  - 2020-12
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2381
AB  - У делу Слике упркос свему: четири фотографије из Аушвица, Диди-Хуберман (Georges Didi-Huberman) указује на различите начине кроз које су четири фотографије о којима је реч настале као противтежа или упркос нечему. Покушаћу да раздвојим и објасним различите модалитете бивања упркос, карактеристичне за наведене фотографије. Оне су настале упркос, али и на основу, незамисливости ситуације коју приказују (фотографија као доказ), упркос забрани фотографија (препрека у продукцији) и упркос репрезентабилности човека (препрека у рецепцији). Назмисливост нас доводи у везу са појмовима доказа, истине, али и моћи, репрезентабилности, забране и правила. На основу појмова репрезентабилности и културног сећања, разматраћу могућност да ове фотографије представљају оличење непослушног акта виђења о ком говори Џудит Батлер (Judith Butler). Покушаћу да покажем да је настанак упркос, како би рекао Диди-Хуберман или напослушно виђење, речима Џудит Батлер, читљиво више кроз начин на које су слике настале него кроз оно што приказују.
AB  - In his book Images in Spite of All: Four Photographs from Auschwitz Didi-Huberman indicates that the four photographs in question were taken as a counterweight or in spite of something. They show the activities of the Sonderkommando, whose task was to escort other Jews into the gas chambers, as well as to dispose and burn the corpses that were left behind. In the dual role of victim and perpetrator, members of the unit, in spite of the ban and the danger they were in, created four photographs showing their own activities inside the camp. Throughout the work, different modes of beeing in spite of characteristic of the aforementioned photographs are separated and explained with regard to whether they relate to the need for, production or reception of photographs. They were created in spite of, but also based on, the inconceivability of the situation they portray (photographs as evidence), in spite the prohibition of photographs (obstacle in production) and in spite the representational framework or representability of humans obstacle in reception). Inconceivability brings us to the notions of evidence, truth, but also power, representability, prohibition and rules. Based on the representability of the photographs and notion of cultural memory, we considered the possibilities of the photographs representing Judith Butler’s  disobedient act of seeing. It will be shown that emergence in spite of as Didi-Huberman would say, or disobedient act of seeing, in Judith Butler's words, is readable more through the way the images are made than through what they depict. Unlike the usual, "allowed" war photographs, they are specific proof of the prohibition against which they are made.
PB  - Београд: Завод за проучавање културног развитка
T2  - Часопис Култура
T1  - Фотографије Сондеркоманда као непослушни акт виђења
T1  - Sonderkommando Photographs аs A Disobedient Act Of Seeing
IS  - 169
SP  - 329
EP  - 346
DO  - 10.5937/kultura2069329V
ER  - 
@article{
author = "Velinov, Marija",
year = "2020-12",
abstract = "У делу Слике упркос свему: четири фотографије из Аушвица, Диди-Хуберман (Georges Didi-Huberman) указује на различите начине кроз које су четири фотографије о којима је реч настале као противтежа или упркос нечему. Покушаћу да раздвојим и објасним различите модалитете бивања упркос, карактеристичне за наведене фотографије. Оне су настале упркос, али и на основу, незамисливости ситуације коју приказују (фотографија као доказ), упркос забрани фотографија (препрека у продукцији) и упркос репрезентабилности човека (препрека у рецепцији). Назмисливост нас доводи у везу са појмовима доказа, истине, али и моћи, репрезентабилности, забране и правила. На основу појмова репрезентабилности и културног сећања, разматраћу могућност да ове фотографије представљају оличење непослушног акта виђења о ком говори Џудит Батлер (Judith Butler). Покушаћу да покажем да је настанак упркос, како би рекао Диди-Хуберман или напослушно виђење, речима Џудит Батлер, читљиво више кроз начин на које су слике настале него кроз оно што приказују., In his book Images in Spite of All: Four Photographs from Auschwitz Didi-Huberman indicates that the four photographs in question were taken as a counterweight or in spite of something. They show the activities of the Sonderkommando, whose task was to escort other Jews into the gas chambers, as well as to dispose and burn the corpses that were left behind. In the dual role of victim and perpetrator, members of the unit, in spite of the ban and the danger they were in, created four photographs showing their own activities inside the camp. Throughout the work, different modes of beeing in spite of characteristic of the aforementioned photographs are separated and explained with regard to whether they relate to the need for, production or reception of photographs. They were created in spite of, but also based on, the inconceivability of the situation they portray (photographs as evidence), in spite the prohibition of photographs (obstacle in production) and in spite the representational framework or representability of humans obstacle in reception). Inconceivability brings us to the notions of evidence, truth, but also power, representability, prohibition and rules. Based on the representability of the photographs and notion of cultural memory, we considered the possibilities of the photographs representing Judith Butler’s  disobedient act of seeing. It will be shown that emergence in spite of as Didi-Huberman would say, or disobedient act of seeing, in Judith Butler's words, is readable more through the way the images are made than through what they depict. Unlike the usual, "allowed" war photographs, they are specific proof of the prohibition against which they are made.",
publisher = "Београд: Завод за проучавање културног развитка",
journal = "Часопис Култура",
title = "Фотографије Сондеркоманда као непослушни акт виђења, Sonderkommando Photographs аs A Disobedient Act Of Seeing",
number = "169",
pages = "329-346",
doi = "10.5937/kultura2069329V"
}
Velinov, M.. (2020-12). Фотографије Сондеркоманда као непослушни акт виђења. in Часопис Култура
Београд: Завод за проучавање културног развитка.(169), 329-346.
https://doi.org/10.5937/kultura2069329V
Velinov M. Фотографије Сондеркоманда као непослушни акт виђења. in Часопис Култура. 2020;(169):329-346.
doi:10.5937/kultura2069329V .
Velinov, Marija, "Фотографије Сондеркоманда као непослушни акт виђења" in Часопис Култура, no. 169 (2020-12):329-346,
https://doi.org/10.5937/kultura2069329V . .

Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata

Velinov, Marija; Krstić, Predrag; Mevorah, Vera

(Beograd: Institut za filozofiju i društvenu teoriju, 2020)

TY  - BOOK
AU  - Velinov, Marija
AU  - Krstić, Predrag
AU  - Mevorah, Vera
PY  - 2020
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2384
PB  - Beograd: Institut za filozofiju i društvenu teoriju
T1  - Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata
ER  - 
@book{
author = "Velinov, Marija and Krstić, Predrag and Mevorah, Vera",
year = "2020",
publisher = "Beograd: Institut za filozofiju i društvenu teoriju",
title = "Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata"
}
Velinov, M., Krstić, P.,& Mevorah, V.. (2020). Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata. 
Beograd: Institut za filozofiju i društvenu teoriju..
Velinov M, Krstić P, Mevorah V. Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata. 2020;..
Velinov, Marija, Krstić, Predrag, Mevorah, Vera, "Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata" (2020).

Problematizovanje vizuelne reprezentacije stvarnosti kao intermedijalna dokumentarna praksa Džefa Vola

Velinov, Marija

(Beograd: Estetičko društvo Srbije, 2020)

TY  - CONF
AU  - Velinov, Marija
PY  - 2020
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2382
AB  - Analizom rada Džefa Vola (Jeff Wall) pokazuje se da njegova umetnička dela stoje na granicama različitih medija i disciplina. Bilo kroz referiranje ili tehniku stvaranja, koju autor naziva kinematografijom, Džef Vol ni u jednom trenutku ne proizvodi samo fotografiju. Pored kretanja između disciplina različitih umetničkih medija, autor se kroz rad kreće i između teorije umetnosti sa jedne strane i kulture sećanja sa druge strane. Tim tragom, rad se okreće analizi uobičajenih shvatanja vizuelne reprezentacije, dokumentarnosti i sećanja, kao i njihovim odnosom prema istini i stvarnosti, koja se problematizuje kroz stvaralaštvo Džefa Vola. Sećanje se, naspram uobičajenog mišljenja, pokazuje kao deo ili aspekt imaginacije i, kao takvo, predstavlja osnovu umetnosti. Sa druge strane, dokumentarnost se odvaja od stvarnosti i istine i pridružuje poetičnom to jest, takođe se pokazuje kao deo fantastične funkcije. Oni (sećanje i fantazija ili imaginacija) se svako za sebe i zajedno udaljuju od linearnosti vremena čime stvaraju specifični vid reprezentacije koji je jasno vidljiv kako u samim delima Džefa Vola, tako i u njegovom kinematografskom pristupu stvaranju fotografija. Zaključuje se da ovaj umetnik stvara čistu ili istinsku reprezentaciju koja, naspram uobičajenih očekivanja i verovanja, ne pruža činjenice o stvarnosti, već se pokazuje kao pripadajuća prostoru fantazije.
AB  - By analyzing Jeff Wall’s work we can see that his works of art stand between different media and disciplines. Whether through referring or his technique, which he calls cinematography, Jeff Wall never produces only photography. In addition to being in between different art media disciplines, he also moves between art theory on the one hand and cultural memory on the other. With this in mind, the paper focuses on the analysis of common understandings of visual representation, documentary and memory, as well as their relationship to truth and reality, which is problematized through Jeff Wall’s work. Memory, as opposed to common thinking, is shown as a part or aspect of the imagination and, as such, is the basis of art. On the other hand, the documentary separates itself from reality and truth and turns to the poetic, that is, it also partially serves the fantastic. They (memory and fantasy or imagination) move away from the linearity of time, thus creating a specific type of representation that is clearly visible both in the works of Jeff Wall and in his cinematic approach to photography. We can conclude that this artist creates a pure or true representation which, contrary to usual expectations and beliefs, does not provide facts about reality, but shows itself as belonging to the realm of fantasy.
PB  - Beograd: Estetičko društvo Srbije
C3  - Konferencija Čemu estetika? Knjiga rezimea
T1  - Problematizovanje vizuelne reprezentacije stvarnosti kao intermedijalna dokumentarna praksa Džefa Vola
T1  - Problematizing the visual representation of reality as Jeff Wall’s intermedia documentary practice
SP  - 23
EP  - 25
ER  - 
@conference{
author = "Velinov, Marija",
year = "2020",
abstract = "Analizom rada Džefa Vola (Jeff Wall) pokazuje se da njegova umetnička dela stoje na granicama različitih medija i disciplina. Bilo kroz referiranje ili tehniku stvaranja, koju autor naziva kinematografijom, Džef Vol ni u jednom trenutku ne proizvodi samo fotografiju. Pored kretanja između disciplina različitih umetničkih medija, autor se kroz rad kreće i između teorije umetnosti sa jedne strane i kulture sećanja sa druge strane. Tim tragom, rad se okreće analizi uobičajenih shvatanja vizuelne reprezentacije, dokumentarnosti i sećanja, kao i njihovim odnosom prema istini i stvarnosti, koja se problematizuje kroz stvaralaštvo Džefa Vola. Sećanje se, naspram uobičajenog mišljenja, pokazuje kao deo ili aspekt imaginacije i, kao takvo, predstavlja osnovu umetnosti. Sa druge strane, dokumentarnost se odvaja od stvarnosti i istine i pridružuje poetičnom to jest, takođe se pokazuje kao deo fantastične funkcije. Oni (sećanje i fantazija ili imaginacija) se svako za sebe i zajedno udaljuju od linearnosti vremena čime stvaraju specifični vid reprezentacije koji je jasno vidljiv kako u samim delima Džefa Vola, tako i u njegovom kinematografskom pristupu stvaranju fotografija. Zaključuje se da ovaj umetnik stvara čistu ili istinsku reprezentaciju koja, naspram uobičajenih očekivanja i verovanja, ne pruža činjenice o stvarnosti, već se pokazuje kao pripadajuća prostoru fantazije., By analyzing Jeff Wall’s work we can see that his works of art stand between different media and disciplines. Whether through referring or his technique, which he calls cinematography, Jeff Wall never produces only photography. In addition to being in between different art media disciplines, he also moves between art theory on the one hand and cultural memory on the other. With this in mind, the paper focuses on the analysis of common understandings of visual representation, documentary and memory, as well as their relationship to truth and reality, which is problematized through Jeff Wall’s work. Memory, as opposed to common thinking, is shown as a part or aspect of the imagination and, as such, is the basis of art. On the other hand, the documentary separates itself from reality and truth and turns to the poetic, that is, it also partially serves the fantastic. They (memory and fantasy or imagination) move away from the linearity of time, thus creating a specific type of representation that is clearly visible both in the works of Jeff Wall and in his cinematic approach to photography. We can conclude that this artist creates a pure or true representation which, contrary to usual expectations and beliefs, does not provide facts about reality, but shows itself as belonging to the realm of fantasy.",
publisher = "Beograd: Estetičko društvo Srbije",
journal = "Konferencija Čemu estetika? Knjiga rezimea",
title = "Problematizovanje vizuelne reprezentacije stvarnosti kao intermedijalna dokumentarna praksa Džefa Vola, Problematizing the visual representation of reality as Jeff Wall’s intermedia documentary practice",
pages = "23-25"
}
Velinov, M.. (2020). Problematizovanje vizuelne reprezentacije stvarnosti kao intermedijalna dokumentarna praksa Džefa Vola. in Konferencija Čemu estetika? Knjiga rezimea
Beograd: Estetičko društvo Srbije., 23-25.
Velinov M. Problematizovanje vizuelne reprezentacije stvarnosti kao intermedijalna dokumentarna praksa Džefa Vola. in Konferencija Čemu estetika? Knjiga rezimea. 2020;:23-25..
Velinov, Marija, "Problematizovanje vizuelne reprezentacije stvarnosti kao intermedijalna dokumentarna praksa Džefa Vola" in Konferencija Čemu estetika? Knjiga rezimea (2020):23-25.

The Ethics of the Self as an Educational Practice

Velinov, Marija

(Beograd: Institut za filozofiju i društvenu teoriju, 2020)

TY  - CONF
AU  - Velinov, Marija
PY  - 2020
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2380
AB  - Rad se bavi Fukoovom analizom određenih aspekata stoičke filozofije
i njihovog odnosa spram obrazovanja. Fuko polazi od teze da su „naše
eto-poetičke prakse postale orijentisane ka otkrivanju naše istinske i
sušinske prirode“, te se okreće etici koja vodi odvajanju naših etičkih ili
samo-formirajućih praksi od obaveze da kažemo istinu o svojoj prirodi.
Prvo pitanje rada je da li pojmovi i prakse stoičke filozofije poput Stultitia
i Askesis (u značenju vežbi i priprema za život), a u njihovoj vezi sa
istinom ili izricanjem istine i specifičnim odnosom spram slušanja, čitanja
i pisanja, predstvljaju obrazovnu praksu? Takođe, ukoliko je cilj etike
sopstva konstitucija subjekta kroz svesnu praksu slobode, a askezu
odredimo kao subjektivaciju dirskursa istine, postavlja se pitanje da li je
u pitanju vrsta učenja koje može da emancipuje? Preciznije, da li briga o
sebi ili etika sopstva, kao preobraćanje koje sopstvo stvara putem prisvajanja
istine i postajanja subjektom iskazivanja istine, može istovremeno
da bude slobodno i nezavisno ili emancipovano?
AB  - The paper deals with Foucault’s analysis of certain aspects of Stoicism
and its relation to education. Foucault begins with the thesis that “our
etho-poetic practices have become oriented towards discovering our
true and substantive nature”. He turns to the ethics that separates our
ethical or self-forming practices from the obligation to tell the truth
about our nature.
The first question is whether the concepts and practices of Stoicism
such as Stultitia and Askesis, in their relation to truth or truth-telling
and their specific relation to listening, reading and writing, constitute
educational practice? Also, if the goal of the ethics of the self is the
constitution of the subject through the conscious practice of liberty,
and if we define Askesis as the subjectivation of the discourse of truth,
the question rises as to whether this is the kind of learning that could
emancipate? More precisely, whether self-care or the ethics of self as
transformation, which is achieved through the appropriation of truth
and becoming the subject of truth-telling, can be free and independent,
or emancipated?
PB  - Beograd: Institut za filozofiju i društvenu teoriju
C3  - Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata
T1  - The Ethics of the Self as an Educational Practice
T1  - Etika sopstva kao obrazovna praksa
SP  - 100
EP  - 100
ER  - 
@conference{
author = "Velinov, Marija",
year = "2020",
abstract = "Rad se bavi Fukoovom analizom određenih aspekata stoičke filozofije
i njihovog odnosa spram obrazovanja. Fuko polazi od teze da su „naše
eto-poetičke prakse postale orijentisane ka otkrivanju naše istinske i
sušinske prirode“, te se okreće etici koja vodi odvajanju naših etičkih ili
samo-formirajućih praksi od obaveze da kažemo istinu o svojoj prirodi.
Prvo pitanje rada je da li pojmovi i prakse stoičke filozofije poput Stultitia
i Askesis (u značenju vežbi i priprema za život), a u njihovoj vezi sa
istinom ili izricanjem istine i specifičnim odnosom spram slušanja, čitanja
i pisanja, predstvljaju obrazovnu praksu? Takođe, ukoliko je cilj etike
sopstva konstitucija subjekta kroz svesnu praksu slobode, a askezu
odredimo kao subjektivaciju dirskursa istine, postavlja se pitanje da li je
u pitanju vrsta učenja koje može da emancipuje? Preciznije, da li briga o
sebi ili etika sopstva, kao preobraćanje koje sopstvo stvara putem prisvajanja
istine i postajanja subjektom iskazivanja istine, može istovremeno
da bude slobodno i nezavisno ili emancipovano?, The paper deals with Foucault’s analysis of certain aspects of Stoicism
and its relation to education. Foucault begins with the thesis that “our
etho-poetic practices have become oriented towards discovering our
true and substantive nature”. He turns to the ethics that separates our
ethical or self-forming practices from the obligation to tell the truth
about our nature.
The first question is whether the concepts and practices of Stoicism
such as Stultitia and Askesis, in their relation to truth or truth-telling
and their specific relation to listening, reading and writing, constitute
educational practice? Also, if the goal of the ethics of the self is the
constitution of the subject through the conscious practice of liberty,
and if we define Askesis as the subjectivation of the discourse of truth,
the question rises as to whether this is the kind of learning that could
emancipate? More precisely, whether self-care or the ethics of self as
transformation, which is achieved through the appropriation of truth
and becoming the subject of truth-telling, can be free and independent,
or emancipated?",
publisher = "Beograd: Institut za filozofiju i društvenu teoriju",
journal = "Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata",
title = "The Ethics of the Self as an Educational Practice, Etika sopstva kao obrazovna praksa",
pages = "100-100"
}
Velinov, M.. (2020). The Ethics of the Self as an Educational Practice. in Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata
Beograd: Institut za filozofiju i društvenu teoriju., 100-100.
Velinov M. The Ethics of the Self as an Educational Practice. in Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata. 2020;:100-100..
Velinov, Marija, "The Ethics of the Self as an Educational Practice" in Druga međunarodna konferencija Čemu još obrazovanje?/Why Still Education? Emancipacija i/ili obrazovanje: putevi i raspuća/Emancipation and/or Education: Challenges and Frictions, Beograd, 2–5 oktobar 2020. Knjiga apstrakata (2020):100-100.

Why still education? Emancipation and/or Education: Challenges and Frictions

Velinov, Marija; Mevorah, Vera; Krstić, Predrag

(Belgrade: Institute for Philosophy and Social Theory University of Belgrade, 2020)

TY  - BOOK
AU  - Velinov, Marija
AU  - Mevorah, Vera
AU  - Krstić, Predrag
PY  - 2020
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2295
AB  - Book of Abstracts of the annual conferences Why still education? presents a collection of presentations as an open forum for development and reflection on educational strategies, which both open the space for the exchange of experiences and knowledge and encourage challenging of the existing educational practices on the topic: Emancipation and/or Education: Challenges and Frictions. The relation between emancipation and education is fraught with tensions. Even though we are the inheritors of the emancipatory potential of the Enlightenment, never before have these potentials been under such rigorous critical scrutiny as from various intellectual traditions of the second half of 20th century, such as postcolonial studies, poststructuralist thought, feminist critique, etc. But precisely because the classic emancipatory ideal became outdated, there is a great need for rethinking and rearticulating the idea of emancipation. We want to question whether, and to what extent, in rethinking emancipation, the role and the aim of education must be rethought as well.
PB  - Belgrade: Institute for Philosophy and Social Theory University of Belgrade
PB  - Beograd: Institut za filozofiju i društvenu teoriju Univerzitet u Beogradu
T1  - Why still education? Emancipation and/or Education: Challenges and Frictions
T1  - Čemu još obrazovanje? Emancipacija i/ili obrazovanje: putevi i raspuća
ER  - 
@book{
author = "Velinov, Marija and Mevorah, Vera and Krstić, Predrag",
year = "2020",
abstract = "Book of Abstracts of the annual conferences Why still education? presents a collection of presentations as an open forum for development and reflection on educational strategies, which both open the space for the exchange of experiences and knowledge and encourage challenging of the existing educational practices on the topic: Emancipation and/or Education: Challenges and Frictions. The relation between emancipation and education is fraught with tensions. Even though we are the inheritors of the emancipatory potential of the Enlightenment, never before have these potentials been under such rigorous critical scrutiny as from various intellectual traditions of the second half of 20th century, such as postcolonial studies, poststructuralist thought, feminist critique, etc. But precisely because the classic emancipatory ideal became outdated, there is a great need for rethinking and rearticulating the idea of emancipation. We want to question whether, and to what extent, in rethinking emancipation, the role and the aim of education must be rethought as well.",
publisher = "Belgrade: Institute for Philosophy and Social Theory University of Belgrade, Beograd: Institut za filozofiju i društvenu teoriju Univerzitet u Beogradu",
title = "Why still education? Emancipation and/or Education: Challenges and Frictions, Čemu još obrazovanje? Emancipacija i/ili obrazovanje: putevi i raspuća"
}
Velinov, M., Mevorah, V.,& Krstić, P.. (2020). Why still education? Emancipation and/or Education: Challenges and Frictions. 
Belgrade: Institute for Philosophy and Social Theory University of Belgrade..
Velinov M, Mevorah V, Krstić P. Why still education? Emancipation and/or Education: Challenges and Frictions. 2020;..
Velinov, Marija, Mevorah, Vera, Krstić, Predrag, "Why still education? Emancipation and/or Education: Challenges and Frictions" (2020).

Etika reprezentacije grozote: istina između viđenja i mišljenja

Velinov, Marija

(Beograd : Institut za filozofiju i društvenu teoriju, 2020)

TY  - JOUR
AU  - Velinov, Marija
PY  - 2020
UR  - http://kritika.instifdt.bg.ac.rs/index.php/kc/article/view/14/38
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2109
AB  - Rad se bavi pojedinim etičkim aspektima fotografija grozota, pri čemu se prevashodno koriste interepretacije razmatranja koja su o fotografiji iznele Džudit Batler  i Suzan Sontag. U okvirima specifičnog odnosa pojma grozote i fotografije, pri čemu se drugi pokazuje gotovo kao uslov prvog, autor ukazuje na dve osnovne grupe etičkih pitanja takve vrste fotografija. Sa jedne strane, postoje pitanja produkcije to jest odabira načina na koji će događaj biti zabeležen ili prikazan, a koja se odnose na različite unapred zadate okvire ili mogućnosti reprezentacije. Sa druge strane, imamo pitanja recepcije ili etičke reakcije, razumevanja ili podrazumevanja da bi događaj trebalo da bude prenet na način koji omogućava reakciju i promišljanje koje bi moglo da dovede do promene. Pokazuje se da je složeni odnos produkcije i recepcije u osnovi obeležen odnosima interpretacije stvarnosti, istine, moći i upravljanja drugima, pri čemu fotografija grozote ostaje samo prazno mesto koje služi za emotivnu identitifikaciju. Mogućnost otklona od uobičajenog odnosa navedenih pojmova, koji može biti shvaćen kao upisivanje recepcije u produkciju, pojavljuje se u svojevrsnoj inverziji koja u recepciji vidi ili iščitava produkciju. Ključni aspekt ovog procesa predstavlja mišljenje, za koje se ustanovljuje da je zanemareno unutar kulture sećanja.
AB  - The paper deals with certain ethical aspects of atrocity photographs. It predominantly interprets considerations made by Judith Butler and Susan Sontag. Within the specific tie between the notion of horror and photography – the latter proving to be somewhat a condition of the former – the author points to two basic groups of ethical issues of this type of photography. On the one hand, there are production issues, that is, choos-ing how the event will be recorded or shown, which relate to different pre-defined frames of representation. On the other hand, we have questions of reception or eth-ical reaction, understanding that the event should be conveyed in a way that allows for reaction and reflection that could lead to change. It is shown that the complex re-lation between production and reception is fundamentally marked by the relations of interpretation of reality, truth, power and government of others, whereby the photo-graph of atrocity remains only a blank space for emotional identification. The possi-bility of deviating from the usual relation of these terms, understood as bringing the reception into production, is indicated in a kind of inversion that sees or reads the production in the reception. A key aspect of this process is thought, which is found to be neglected within the memory culture.
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Kritika: časopis za filozofiju i teoriju društva
T1  - Etika reprezentacije grozote:  istina između viđenja i mišljenja
T1  - Ethics of Atrocity Representation: the Truth Between Seeing and Thinking
IS  - 1
VL  - 1
SP  - 75
EP  - 88
DO  - https://doi.org/10.5281/zenodo.3826539
ER  - 
@article{
author = "Velinov, Marija",
year = "2020",
abstract = "Rad se bavi pojedinim etičkim aspektima fotografija grozota, pri čemu se prevashodno koriste interepretacije razmatranja koja su o fotografiji iznele Džudit Batler  i Suzan Sontag. U okvirima specifičnog odnosa pojma grozote i fotografije, pri čemu se drugi pokazuje gotovo kao uslov prvog, autor ukazuje na dve osnovne grupe etičkih pitanja takve vrste fotografija. Sa jedne strane, postoje pitanja produkcije to jest odabira načina na koji će događaj biti zabeležen ili prikazan, a koja se odnose na različite unapred zadate okvire ili mogućnosti reprezentacije. Sa druge strane, imamo pitanja recepcije ili etičke reakcije, razumevanja ili podrazumevanja da bi događaj trebalo da bude prenet na način koji omogućava reakciju i promišljanje koje bi moglo da dovede do promene. Pokazuje se da je složeni odnos produkcije i recepcije u osnovi obeležen odnosima interpretacije stvarnosti, istine, moći i upravljanja drugima, pri čemu fotografija grozote ostaje samo prazno mesto koje služi za emotivnu identitifikaciju. Mogućnost otklona od uobičajenog odnosa navedenih pojmova, koji može biti shvaćen kao upisivanje recepcije u produkciju, pojavljuje se u svojevrsnoj inverziji koja u recepciji vidi ili iščitava produkciju. Ključni aspekt ovog procesa predstavlja mišljenje, za koje se ustanovljuje da je zanemareno unutar kulture sećanja., The paper deals with certain ethical aspects of atrocity photographs. It predominantly interprets considerations made by Judith Butler and Susan Sontag. Within the specific tie between the notion of horror and photography – the latter proving to be somewhat a condition of the former – the author points to two basic groups of ethical issues of this type of photography. On the one hand, there are production issues, that is, choos-ing how the event will be recorded or shown, which relate to different pre-defined frames of representation. On the other hand, we have questions of reception or eth-ical reaction, understanding that the event should be conveyed in a way that allows for reaction and reflection that could lead to change. It is shown that the complex re-lation between production and reception is fundamentally marked by the relations of interpretation of reality, truth, power and government of others, whereby the photo-graph of atrocity remains only a blank space for emotional identification. The possi-bility of deviating from the usual relation of these terms, understood as bringing the reception into production, is indicated in a kind of inversion that sees or reads the production in the reception. A key aspect of this process is thought, which is found to be neglected within the memory culture.",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Kritika: časopis za filozofiju i teoriju društva",
title = "Etika reprezentacije grozote:  istina između viđenja i mišljenja, Ethics of Atrocity Representation: the Truth Between Seeing and Thinking",
number = "1",
volume = "1",
pages = "75-88",
doi = "https://doi.org/10.5281/zenodo.3826539"
}
Velinov, M.. (2020). Etika reprezentacije grozote:  istina između viđenja i mišljenja. in Kritika: časopis za filozofiju i teoriju društva
Beograd : Institut za filozofiju i društvenu teoriju., 1(1), 75-88.
https://doi.org/https://doi.org/10.5281/zenodo.3826539
Velinov M. Etika reprezentacije grozote:  istina između viđenja i mišljenja. in Kritika: časopis za filozofiju i teoriju društva. 2020;1(1):75-88.
doi:https://doi.org/10.5281/zenodo.3826539 .
Velinov, Marija, "Etika reprezentacije grozote:  istina između viđenja i mišljenja" in Kritika: časopis za filozofiju i teoriju društva, 1, no. 1 (2020):75-88,
https://doi.org/https://doi.org/10.5281/zenodo.3826539 . .

Otete institucije u Srbiji

Velinov, Marija; Pudar Draško, Gazela; Prodanović, Srđan

(Beograd: Institut za filozofiju i društvenu teoriju, 2019)

TY  - BOOK
AU  - Velinov, Marija
AU  - Pudar Draško, Gazela
AU  - Prodanović, Srđan
PY  - 2019
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2383
PB  - Beograd: Institut za filozofiju i društvenu teoriju
T1  - Otete institucije u Srbiji
ER  - 
@book{
author = "Velinov, Marija and Pudar Draško, Gazela and Prodanović, Srđan",
year = "2019",
publisher = "Beograd: Institut za filozofiju i društvenu teoriju",
title = "Otete institucije u Srbiji"
}
Velinov, M., Pudar Draško, G.,& Prodanović, S.. (2019). Otete institucije u Srbiji. 
Beograd: Institut za filozofiju i društvenu teoriju..
Velinov M, Pudar Draško G, Prodanović S. Otete institucije u Srbiji. 2019;..
Velinov, Marija, Pudar Draško, Gazela, Prodanović, Srđan, "Otete institucije u Srbiji" (2019).

Medical Documentation: Private Memories

Velinov, Marija

(Belgrade: Faculty of Dramatic Arts, Institute For Theatre, Film, Radio And Television, 2019)

TY  - GEN
AU  - Velinov, Marija
PY  - 2019
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2377
PB  - Belgrade: Faculty of Dramatic Arts, Institute For Theatre, Film, Radio And Television
T2  - New Horizons of Culture, Media and Arts in The Digital Environment Book of Abstracts
T1  - Medical Documentation: Private Memories
ER  - 
@misc{
author = "Velinov, Marija",
year = "2019",
publisher = "Belgrade: Faculty of Dramatic Arts, Institute For Theatre, Film, Radio And Television",
journal = "New Horizons of Culture, Media and Arts in The Digital Environment Book of Abstracts",
title = "Medical Documentation: Private Memories"
}
Velinov, M.. (2019). Medical Documentation: Private Memories. in New Horizons of Culture, Media and Arts in The Digital Environment Book of Abstracts
Belgrade: Faculty of Dramatic Arts, Institute For Theatre, Film, Radio And Television..
Velinov M. Medical Documentation: Private Memories. in New Horizons of Culture, Media and Arts in The Digital Environment Book of Abstracts. 2019;..
Velinov, Marija, "Medical Documentation: Private Memories" in New Horizons of Culture, Media and Arts in The Digital Environment Book of Abstracts (2019).

Olivia Custer, Penelope Deutscher and Samir Haddad (eds.), Foucault/Derrida Fifty Years later: The Futures of Genealogy, Deconstruction, and Politics, Columbia University Press, New York, 2016

Velinov, Marija

(Beograd : Institut za filozofiju i društvenu teoriju, 2019)

TY  - JOUR
AU  - Velinov, Marija
PY  - 2019
UR  - http://journal.instifdt.bg.ac.rs/index.php?journal=fid&page=article&op=view&path%5B%5D=767
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2033
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Filozofija i društvo/Philosophy and Society
T1  - Olivia Custer, Penelope Deutscher and Samir Haddad (eds.), Foucault/Derrida Fifty Years later: The Futures of Genealogy, Deconstruction, and Politics, Columbia University Press, New York, 2016
IS  - 3
VL  - 30
SP  - 451
EP  - 452
ER  - 
@article{
author = "Velinov, Marija",
year = "2019",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Filozofija i društvo/Philosophy and Society",
title = "Olivia Custer, Penelope Deutscher and Samir Haddad (eds.), Foucault/Derrida Fifty Years later: The Futures of Genealogy, Deconstruction, and Politics, Columbia University Press, New York, 2016",
number = "3",
volume = "30",
pages = "451-452"
}
Velinov, M.. (2019). Olivia Custer, Penelope Deutscher and Samir Haddad (eds.), Foucault/Derrida Fifty Years later: The Futures of Genealogy, Deconstruction, and Politics, Columbia University Press, New York, 2016. in Filozofija i društvo/Philosophy and Society
Beograd : Institut za filozofiju i društvenu teoriju., 30(3), 451-452.
Velinov M. Olivia Custer, Penelope Deutscher and Samir Haddad (eds.), Foucault/Derrida Fifty Years later: The Futures of Genealogy, Deconstruction, and Politics, Columbia University Press, New York, 2016. in Filozofija i društvo/Philosophy and Society. 2019;30(3):451-452..
Velinov, Marija, "Olivia Custer, Penelope Deutscher and Samir Haddad (eds.), Foucault/Derrida Fifty Years later: The Futures of Genealogy, Deconstruction, and Politics, Columbia University Press, New York, 2016" in Filozofija i društvo/Philosophy and Society, 30, no. 3 (2019):451-452.

Constitutive Justice and Human Rights

Jovanov, Rastko; Velinov, Marija

(Beograd : Institut za filozofiju i društvenu teoriju, 2019)

TY  - JOUR
AU  - Jovanov, Rastko
AU  - Velinov, Marija
PY  - 2019
UR  - http://journal.instifdt.bg.ac.rs/index.php?journal=fid&page=article&op=view&path%5B%5D=https%3A%2F%2Fdoi.org%2F10.2298%2FFID1904478J
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2046
AB  - In order to show the validity of here proposed conception of social ontology and its advantages over descriptive theories of social reality, which in the analysis of the socio-ontological status of human rights find only legally understood normativity as present in social reality, we will first (1) lay out Searle’s interpretation of human rights. In the second step, we will (2) introduce the methodical approach and basic concepts of our socio-ontological position, and explain the structure of the relationship between justice, law, morality, social institutions and collective intentionality. At the end (3) we will show how our theory of social ontology is better than Searle’s legal positivism in examining the ontological status of human rights. At the end, (3) we show in what ways such a theory of social ontology more intuitively and with wider arguments explains the ontological status of institution of human rights than Searle’s legal positivism.
AB  - Da bismo pokazali valjanost ovde predložene koncepcije socijalne ontologije i njene pred-nosti u odnosu na deskriptivne teorije društvene stvarnosti, koje u analizi socijalno-ontološ-kog statusa ljudskih prava nalaze samo pravno shvaćenu normativnost kao prisutnu u druš-tvenoj stvarnosti, na prvom mestu (1) iznosimo Serleovo tumačenje ljudskih prava. Zatim (2), uvodimo metodski pristup i osnovne pojmove našeg socijalno-ontološkog shvatanja i objaš-njavamo strukturu odnosa pravde, zakona, morala, društvenih institucija i kolektivne inten-cionalnosti. Te na kraju (3) pokazujemo na koji način ovde iznesena teorija socijalne ontolo-gije intuitivnije i sa opširnijim argumentima objašnjava ontološki status institucije ljudskih prava od Serlovog pravnog pozitivizma.
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Filozofija i društvo/Philosophy and Society
T1  - Constitutive Justice and Human Rights
T1  - Konstitutivna pravda i ljudska prava
IS  - 4
VL  - 30
SP  - 478
EP  - 492
DO  - 10.2298//FID1904478J
ER  - 
@article{
author = "Jovanov, Rastko and Velinov, Marija",
year = "2019",
abstract = "In order to show the validity of here proposed conception of social ontology and its advantages over descriptive theories of social reality, which in the analysis of the socio-ontological status of human rights find only legally understood normativity as present in social reality, we will first (1) lay out Searle’s interpretation of human rights. In the second step, we will (2) introduce the methodical approach and basic concepts of our socio-ontological position, and explain the structure of the relationship between justice, law, morality, social institutions and collective intentionality. At the end (3) we will show how our theory of social ontology is better than Searle’s legal positivism in examining the ontological status of human rights. At the end, (3) we show in what ways such a theory of social ontology more intuitively and with wider arguments explains the ontological status of institution of human rights than Searle’s legal positivism., Da bismo pokazali valjanost ovde predložene koncepcije socijalne ontologije i njene pred-nosti u odnosu na deskriptivne teorije društvene stvarnosti, koje u analizi socijalno-ontološ-kog statusa ljudskih prava nalaze samo pravno shvaćenu normativnost kao prisutnu u druš-tvenoj stvarnosti, na prvom mestu (1) iznosimo Serleovo tumačenje ljudskih prava. Zatim (2), uvodimo metodski pristup i osnovne pojmove našeg socijalno-ontološkog shvatanja i objaš-njavamo strukturu odnosa pravde, zakona, morala, društvenih institucija i kolektivne inten-cionalnosti. Te na kraju (3) pokazujemo na koji način ovde iznesena teorija socijalne ontolo-gije intuitivnije i sa opširnijim argumentima objašnjava ontološki status institucije ljudskih prava od Serlovog pravnog pozitivizma.",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Filozofija i društvo/Philosophy and Society",
title = "Constitutive Justice and Human Rights, Konstitutivna pravda i ljudska prava",
number = "4",
volume = "30",
pages = "478-492",
doi = "10.2298//FID1904478J"
}
Jovanov, R.,& Velinov, M.. (2019). Constitutive Justice and Human Rights. in Filozofija i društvo/Philosophy and Society
Beograd : Institut za filozofiju i društvenu teoriju., 30(4), 478-492.
https://doi.org/10.2298//FID1904478J
Jovanov R, Velinov M. Constitutive Justice and Human Rights. in Filozofija i društvo/Philosophy and Society. 2019;30(4):478-492.
doi:10.2298//FID1904478J .
Jovanov, Rastko, Velinov, Marija, "Constitutive Justice and Human Rights" in Filozofija i društvo/Philosophy and Society, 30, no. 4 (2019):478-492,
https://doi.org/10.2298//FID1904478J . .

Fotografija u krizi: kulturno i angažovano sećanje

Velinov, Marija

(Novi Sad: Kulturni centar Vojvodine „Miloš Crnjanski”, 2019)

TY  - JOUR
AU  - Velinov, Marija
PY  - 2019
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2063
AB  - Rad se bavi saradnjom Grupe 484 sa umetnicima, u cilju organizovanja radionica, izložbi i različitih oblika edukacije i inkluzije migranata i meštana. Njihova saradnja se razmatra kroz različite aspekte fotografske dokumentacije koja je tokom rada nastajala. Kroz tekst će biti pokazano na koji način su članovi grupe i umetnici ostavili fotografske tragove koji se suprotstavljaju uobičajenoj i očekivanoj reprezentaciji krize, kao i kako je takav način produkcije fotografija uticao na njihovu recepciju. Kao prikaz drugačijeg izgleda drugog ili druge strane krize, njihove fotografije tvore svojevrsno angažovano sećanje to jest sećanje koje za cilj ima uticaj i promenu, ali, isotvremeno, izlazeći iz granica kulturnog sećanja, ove slike ostaju (medijski) zanemarene i onemogućene da ispune taj cilj.
PB  - Novi Sad: Kulturni centar Vojvodine „Miloš Crnjanski”
T2  - Interkulturalnost Časopis za podsticanje i afirmaciju interkulturalne komunikacije
T1  - Fotografija u krizi: kulturno i angažovano sećanje
IS  - 18
SP  - 77
EP  - 83
ER  - 
@article{
author = "Velinov, Marija",
year = "2019",
abstract = "Rad se bavi saradnjom Grupe 484 sa umetnicima, u cilju organizovanja radionica, izložbi i različitih oblika edukacije i inkluzije migranata i meštana. Njihova saradnja se razmatra kroz različite aspekte fotografske dokumentacije koja je tokom rada nastajala. Kroz tekst će biti pokazano na koji način su članovi grupe i umetnici ostavili fotografske tragove koji se suprotstavljaju uobičajenoj i očekivanoj reprezentaciji krize, kao i kako je takav način produkcije fotografija uticao na njihovu recepciju. Kao prikaz drugačijeg izgleda drugog ili druge strane krize, njihove fotografije tvore svojevrsno angažovano sećanje to jest sećanje koje za cilj ima uticaj i promenu, ali, isotvremeno, izlazeći iz granica kulturnog sećanja, ove slike ostaju (medijski) zanemarene i onemogućene da ispune taj cilj.",
publisher = "Novi Sad: Kulturni centar Vojvodine „Miloš Crnjanski”",
journal = "Interkulturalnost Časopis za podsticanje i afirmaciju interkulturalne komunikacije",
title = "Fotografija u krizi: kulturno i angažovano sećanje",
number = "18",
pages = "77-83"
}
Velinov, M.. (2019). Fotografija u krizi: kulturno i angažovano sećanje. in Interkulturalnost Časopis za podsticanje i afirmaciju interkulturalne komunikacije
Novi Sad: Kulturni centar Vojvodine „Miloš Crnjanski”.(18), 77-83.
Velinov M. Fotografija u krizi: kulturno i angažovano sećanje. in Interkulturalnost Časopis za podsticanje i afirmaciju interkulturalne komunikacije. 2019;(18):77-83..
Velinov, Marija, "Fotografija u krizi: kulturno i angažovano sećanje" in Interkulturalnost Časopis za podsticanje i afirmaciju interkulturalne komunikacije, no. 18 (2019):77-83.

Otuđenost između institucionalizacije i prakse

Velinov, Marija; Prodanović, Srđan; Pudar Draško, Gazela

(Beograd: Institut za filozofiju i društvenu teoriju, 2019)

TY  - CHAP
AU  - Velinov, Marija
AU  - Prodanović, Srđan
AU  - Pudar Draško, Gazela
PY  - 2019
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2059
PB  - Beograd: Institut za filozofiju i društvenu teoriju
T2  - Otete institucije u Srbiji: teorija i praksa
T1  - Otuđenost između institucionalizacije i prakse
SP  - 6
EP  - 12
ER  - 
@inbook{
author = "Velinov, Marija and Prodanović, Srđan and Pudar Draško, Gazela",
year = "2019",
publisher = "Beograd: Institut za filozofiju i društvenu teoriju",
journal = "Otete institucije u Srbiji: teorija i praksa",
booktitle = "Otuđenost između institucionalizacije i prakse",
pages = "6-12"
}
Velinov, M., Prodanović, S.,& Pudar Draško, G.. (2019). Otuđenost između institucionalizacije i prakse. in Otete institucije u Srbiji: teorija i praksa
Beograd: Institut za filozofiju i društvenu teoriju., 6-12.
Velinov M, Prodanović S, Pudar Draško G. Otuđenost između institucionalizacije i prakse. in Otete institucije u Srbiji: teorija i praksa. 2019;:6-12..
Velinov, Marija, Prodanović, Srđan, Pudar Draško, Gazela, "Otuđenost između institucionalizacije i prakse" in Otete institucije u Srbiji: teorija i praksa (2019):6-12.

Integrated Foucault: Another Look at Discourse and Power

Velinov, Marija

(Beograd : Institut za filozofiju i društvenu teoriju, 2018)

TY  - JOUR
AU  - Velinov, Marija
PY  - 2018
UR  - http://journal.instifdt.bg.ac.rs/index.php?journal=fid&page=article&op=view&path%5B%5D=702
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/1969
AB  - This paper argues that there is continuity in Foucault’s thought, as opposed to the common division of his work into three phases, each marking a distinct field of research – discourse, power, subject. The idea is that there are no radical turns in his work that justify this division; rather, there is a shift of focus: all crucial concepts are present (more or less [in]explicitly) in all periods of his thought and in all of his undoubtedly differently-toned and oriented works. This is shown through examining the characteristics of archaeology and genealogy, their relation, as well as the relation of discursive practices and strategies of power to knowledge. The retrospective and (re)interpretation intend to shed light on the constant interplay between concepts that demonstrate continuity in Foucault’s thought. The viewpoint, based in the integrity of Foucault’s work, offers a better starting point for understanding certain aspects of his theories.
AB  - Nasuprot uobičajenoj podeli Fukoovog rada na tri faze, koje obeležavaju različita polja razmatranja – diskurs, moć, subjekat – u ovom radu se zastupa kontinuitet njegove misli. Ideja da nema naglih preokreta koji opravdavaju oštre podele, već radije promene težišta istraživanja, da su svi ključni pojmovi, manje ili više (ne)skriveni, prisutni u svim razdobljima Fukoovog mišljenja i u svim, nesumnjivo različito orijentisanim i intoniranim spisima, ilustruje se razmatranjem karakteristika arheologije i genealogije, te njihovog odnosa, kao i odnosa diskurzivnih praksi i strategija moći prema znanju. Ta retrospektiva i (re)interpretacija Fukoove misle valjalo bi da ukaže na neprestanu saigru pojmova koja svedoče o njenom kontinuitetu. Takvo stanovište, koje se zasniva na integritetu Fukoovog dela, može da ponudi i bolju osnovu za razumevanje njegovih posebnih aspekata.
PB  - Beograd : Institut za filozofiju i društvenu teoriju
T2  - Filozofija i društvo/Philosophy and Society
T1  - Integrated Foucault: Another Look at Discourse and Power
IS  - 4
VL  - 29
SP  - 533
EP  - 544
DO  - https://doi.org/10.2298/FID1804533V
ER  - 
@article{
author = "Velinov, Marija",
year = "2018",
abstract = "This paper argues that there is continuity in Foucault’s thought, as opposed to the common division of his work into three phases, each marking a distinct field of research – discourse, power, subject. The idea is that there are no radical turns in his work that justify this division; rather, there is a shift of focus: all crucial concepts are present (more or less [in]explicitly) in all periods of his thought and in all of his undoubtedly differently-toned and oriented works. This is shown through examining the characteristics of archaeology and genealogy, their relation, as well as the relation of discursive practices and strategies of power to knowledge. The retrospective and (re)interpretation intend to shed light on the constant interplay between concepts that demonstrate continuity in Foucault’s thought. The viewpoint, based in the integrity of Foucault’s work, offers a better starting point for understanding certain aspects of his theories., Nasuprot uobičajenoj podeli Fukoovog rada na tri faze, koje obeležavaju različita polja razmatranja – diskurs, moć, subjekat – u ovom radu se zastupa kontinuitet njegove misli. Ideja da nema naglih preokreta koji opravdavaju oštre podele, već radije promene težišta istraživanja, da su svi ključni pojmovi, manje ili više (ne)skriveni, prisutni u svim razdobljima Fukoovog mišljenja i u svim, nesumnjivo različito orijentisanim i intoniranim spisima, ilustruje se razmatranjem karakteristika arheologije i genealogije, te njihovog odnosa, kao i odnosa diskurzivnih praksi i strategija moći prema znanju. Ta retrospektiva i (re)interpretacija Fukoove misle valjalo bi da ukaže na neprestanu saigru pojmova koja svedoče o njenom kontinuitetu. Takvo stanovište, koje se zasniva na integritetu Fukoovog dela, može da ponudi i bolju osnovu za razumevanje njegovih posebnih aspekata.",
publisher = "Beograd : Institut za filozofiju i društvenu teoriju",
journal = "Filozofija i društvo/Philosophy and Society",
title = "Integrated Foucault: Another Look at Discourse and Power",
number = "4",
volume = "29",
pages = "533-544",
doi = "https://doi.org/10.2298/FID1804533V"
}
Velinov, M.. (2018). Integrated Foucault: Another Look at Discourse and Power. in Filozofija i društvo/Philosophy and Society
Beograd : Institut za filozofiju i društvenu teoriju., 29(4), 533-544.
https://doi.org/https://doi.org/10.2298/FID1804533V
Velinov M. Integrated Foucault: Another Look at Discourse and Power. in Filozofija i društvo/Philosophy and Society. 2018;29(4):533-544.
doi:https://doi.org/10.2298/FID1804533V .
Velinov, Marija, "Integrated Foucault: Another Look at Discourse and Power" in Filozofija i društvo/Philosophy and Society, 29, no. 4 (2018):533-544,
https://doi.org/https://doi.org/10.2298/FID1804533V . .