Kulturni turizam se smatra najbrže rastućim segmentom turističkog tržišta posebno evropskog. Kultura se sve više koristi u promotivnoj strategiji za privlačenje turista nudeći bogatu autentičnu turističku ponudu. Novi informatički i tržišni trendovi diktiraju i nove načine komunikacije između tržišta i ciljne grupe tako da, digitalni marketing omogućava direktniju i aktivniju interakciju između turista, turističkih proizvoda i destinacija. Cilj rada je da se prikaže odnos kulture, kulturnog nasleđa i razvoja turizma uz podršku savremenih marketinških komunikacija. Kultura kao društveno nasleđe određene grupe ljudi, zajednice ili društva poslednjih decenija snažno utiče na razvoj turizma u mnogim destinacijama, a novi informatički i tržišni trendovi diktiraju nove načine komunikacije između tržišta i ciljne grupe. Digitalni marketing pruža interaktivnost i nudi personalizovane usluge turistima. U radu je predstavljen primer projekta u razvoju, primer digitalne komunikacije sa informatički "povezanim" turistima, odnosno značaj korišćenje digitalnih medija kako bi se postigla konkurentska prednost i bolje pozicionirala kulturna ponuda Novog Sada na globalnom turističkom tržištu.
This paper presents three accidental terracotta finds assumed to originate from the Kruševac surroundings. There is one plate with a relief depiction, known only from the National Museum in Kruševac documentation, and two finds from the antique archaeological collection from the National Museum in Kruševac -the bust of a figure in high relief and the head of a female figurine. According to the iconography characteristics of these smaller dimension objects, we see the possibility of their cult nature. Thus, the depiction on the plate with a nude male figure with the spear and shield is identified as an artistic presentation of the god Mars. Taking into account the shorter coiffure with signs of stylisation on the bust mentioned above, we assume that it presents a male figure, but due to the poor preservation, it is impossible to identify it. Finally, thanks to a typical melon (melonen) coiffure and accessory on the top of the head resembling a high raised diadem or krobylos, we have made a connection between the head of the figurine and female facial features of the iconography of the goddess Venus.
This paper considers the modes for the improvement of the accessibility to archaeological heritage for people with disabilities. The aspects of communicative (cognitive) accessibility are promoted, where the use of new technologies for virtualization processes, i.e. virtual archaeology, is acknowledged as an important tool for heritage interpretation and the improvement of the contents of archaeological sites or museums. We give a review of the state-of-the-art on this topic in Serbia and point out the potential of digital technologies to ensure new types of experiences for the above-mentioned visitor group thanks to 3D printed replicas of artifacts that combine visual and tactile experiences. Upon consideration of the development of the accessibility of archaeological heritage in Serbia, we emphasize the necessity to adopt modern tendencies that see accessibility for everyone as an integral part of heritage value. To accomplish this, it is necessary to have a serious strategic approach, as the inclusion of people with disabilities is one of the imperatives of modern society.
This paper analyses the impact of Kosovo Myth as the national paradigm on the interpretation of the archaeological heritage from Prince Lazar`s epoch. Since the second half of the 19th century a new narrative about the Battle of Kosovo and its heroes had emerged and its core was to become the national cult connected with the struggle for freedom and national state. Consequently, since the first issues of archaeological periodicals in Serbia there has been an interest in the finds connected with Prince Lazar, sometimes as a result of a romantic tendency rather than sound scientific evidence. In addition, such an influence can be especially noted in the first archaeological exploration of the so-called Lazar`s Town in Kruševac as it was recorded, admittedly somewhat sporadically, in the scientific interpretation but more often in the popular articles of a weekly newspaper Pobeda from Kruševac. This paper examines to what degree archaeologists are involved in the construction of such myths i.e. in which way archaeology and material culture contribute to the confirmation of the such narratives. It is pointed out that when the research into this issue is conducted, it is necessary to pay attention to the question of authority, as well as the public target group who are the recipients of such interpretation. Besides, bearing in mind that the topic concerns the existence of a deeply rooted national epic that had long preceded archaeological investigation, it is emphasised that the interpretation of the results heavily depends on respecting archaeological context as the basic imperative in interpretation. The context serves to limit the broadness of interpretation, encouraging revisions, which is the only method of preserving the objectiveness of the scientific statements which has to be the basis of the popular texts issued by media as well.
During the archaeological excavations in Mediana in 2001, the head of a marble statuette of exceptional beauty and craftsmanship was discovered. It was an isolated discovery, the sculpture probably having been imported from some Greek artistic centre or an eastern Mediterranean workshop, presenting a part of a larger ensemble of sculptures that had adorned an imperial villa with peristyle. Since the head was found in pieces and being just part of a sculptural representation with no reliable attributes, the question of its identification is a difficult task. It was possible to determine, using stylistic traits' analysis that the statuette was made under the influence of Hellenistic cult sculpture, namely that it followed the rules of the school of Praxiteles. On the other hand, the iconographic elements, in particular that of the hairstyle, lead us to the conclusion that this statuette could represent one of two Roman goddesses, either Venus or Diana.
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