Konceptualizacija gubitnika i dobitnika tranzicije u popularnoj kulturi

Abstract

U ovom radu reč je o rekonstrukciji društvenih predstava o gubitnicima i dobitnicima tranzicije na osnovu tvorevina popular­ne kulture kakve su domaće televizijske serije. Date predstave razmatrane su u kontekstu 90-ih godina prošlog veka, kada su same se­rije snimljene i emitovane, sto znaci da su karakteristične, pre sve­ga, za period tzv. prve tranzicije. Analiza je podrazumevala apstra­hovanje jedne od dominantnih tema u obe serije koja se odnosi na odredenu porodicu običnih ljudi, suočenih sa svakodnevnim proble­mima vremena u kome žive, i to pretežno egzistencijalne prirode. Identifikacija poruka o gubitnicima i dobitnicima tranzicije, koje se putem serija šalju, je potom nastavljena utvrđivanjem formule po kojoj je pomenuta tema strukturirana, i na kraju dovršena dovođe­njem u vezu uočenih opozicija putem semiotičkog kvadrata. Konceptualizacija gubitnika i dobitnika tranzicije, do koje se u ovom ra­du došlo, nikako ne implicira to da je ovakvo njihovo viđenje jedino i dominantno u ovom društvu. S druge strane, ono je svakako (bilo) postojeće u datom trenutku i kontekstu i kao takvo je izbilo na povr­šinu putem domaćih serija kao tvorevina populame kulture kroz ko­je se često izražavaju popularni i rašireni stavovi u jednom društvu.

This paper is about the reconstruction of social presentations (picture, vision) of losers and winners of transition based on the products of the popular culture such as the domestic TV series. The given picture was considered in the context of the 1990s, when those TV series were filmed and aired (broadcast), which means that they are typical, primarily, for the period of the so-called first transition. The analysis meant the abstracting one of the dominant themes in both TV series which refers to a certain family of ordinary people, faced with the everyday problems of the time their time, and those problems being mainly existential ones. The identification of the messages about losers and winners of transition, which was being sent through these TV series, was later continued by establishing a formula based on which the mentioned theme (subject) was structured, and in the end completed by putting in connection the perce­ived oppositions via semiotic square. The conceptualization of losers and winners of transition, which is the result of this paper, in no way implies that this vision of theirs is the only and the dominant one in this society. On the other hand, it certainly exists (existed) in the given moment and context and as such it came to surface through do­mestic TV series as the product of popular culture, through which often widespread and popular attitudes of a society are expressed.