In this article, we use the hierarchy-of-influences model as a framework for examining the ways in which media owners, managers and journalists perceive the influence exerted on their work during 12-year democratic transition in Serbia. We aim to explain how factors perceived as influential at the highest system level gradually transfer and relate to the factors on the subsumed levels. Using the concepts such as corruption and the culture of corruption to interpret hierarchy between different levels of influence on transitional journalism, we argue that coupling extramedia actors at the system level can be considered corruption-understood as abuse of power for personal gain or benefit of the aligned group-which translates to all other levels of influence.
This article examines how political cartoons reflected and mobilized resistance to growing authoritarianism and the personalization of power in contemporary Serbia. The focus is on the work of Dušan Petričić, the most influential political cartoonist in Serbia, which was published in daily Politika and weekly NIN between 2012 and 2017. Petričić’s cartoons offer interesting insights into a dramatic decline of press freedom and the rise of authoritarian personalist rule in terms of both their content and political impact. The authors draw on quantitative content analysis and qualitative multimodal analysis to examine the key representational and stylistic features of Petričić’s cartoons, both as a way to understand the relationship between his aesthetics and his political statements, and in order to critically assess some of the ways in which democratization conflicts may be expressed visually. Their analysis also draws on evidence from an in-depth interview with the author. In combining a systematic analysis of key visual patterns across a sample of cartoons with a comprehensive evaluation of how both visual and linguistic features work together to promote anti-authoritarian ideals and resistance, the article offers a framework to understand the political import of aesthetics in Serbia’s democratization process.
Pancreatic carcinoma still represents one of the most lethal malignant diseases in the world although some progress has been made in treating the disease in the past decades. Current multi-agent treatment options have improved the overall survival of patients, however, more effective treatment strategies are still needed. In this paper we have characterized the anticancer potential of coumarin-palladium(II) complex against pancreatic carcinoma cells. Cells viability, colony formation and migratory potential of pancreatic carcinoma cells were assessed in vitro, followed by evaluation of apoptosis induction and in vivo testing on zebrafish. Presented results showed remarkable reduction in pancreatic carcinoma cells growth both in vitro and in vivo, being effective at micromolar concentrations (0.5 μM). Treatments induced apoptosis, increased BAX/BCL-2 ratio and suppressed the expression of SOX9 and SOX18, genes shown to be significantly up-regulated in pancreatic ductal adenocarcinoma. Importantly, treatments of the zebrafish-pancreatic adenocarcinoma xenografts resulted in significant reduction in tumor mass, without provoking any adverse toxic effects including hepatotoxicity. Presented results indicate the great potential of the tested compound and the perspective of its further development towards pancreatic cancer therapy.
The 2010 Belgrade Pride Parade represents a critical moment in the story of Serbia's democratisation process and highlights the threat that right-wing extremism poses to democratic rights and personal freedoms. Through a focus on patterns of visibility and visuality in the coverage of different protagonists in the streets of Belgrade, we explore the ways in which distinct communities perform their affinities, their right to be seen in public spaces, and rejection of 'the other'. We conduct a visual framing analysis across four news programmes (RTS, Prva TV, TVB92 and Pink TV) emphasising the stylistic-semiotic choices which work to construct the contested spaces of the city. In shifting attention to how the news images work to create the spaces of political 'appearance' and the potentials for political agency through mediated visibility, the article explores the uneasy ambivalence of the democratisation process for authorities and the resulting marginalisation of the LGBT community in news coverage.
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