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Serbian Archives for the Whole Medicine (Archivum Serbicum pro universa scientia et arte medica recipienda) is one of the oldest Serbian journals still being published - the first issue came out in 1874 - next to Matica Srpska Chronicle which is the oldest one. It played an extremely significant role in the creation of Serbian medical terminology and phraseology, but only during the first decades of its existence. Later on, after the First World War and particularly after the Second World War, this very role was gradually losing its importance, to be finally lost. So, in recent times, partly under the pressure of higher instances, a proposal was made for the total abandonment of Serbian language and printing this journal only in English. Presenting historical facts - how and for whom Serbian Archives had been made and what followed afterwards - and using statistical calculations of the participation index, indicating the average annual number of authors ie. participants in writing works, unjustifiably increased in the recent decades (1950 = 1.3; 2012= 5.0), in this work we answered the question whether indeed Serbian Archives should not be printed in the Cyrillic script and in Serbian language anymore. The conclusion is: the further survival of Serbian Archives is tightly related to the revival of the work on Serbian medical terminology and phraseology, even if it means starting from the beginning to a great extent at this moment. Otherwise, Serbian Archives will be suspended, after 140 years of existence.

The paper deals with the problem of genres and methodological digressions in the sixth book of Michael Psellos’ Chronographia, in the context of contemporary genre theories. Conventional opinions about author’s motives for composing digressions about genre and about the complex argument he leaves for interpretation of his own text will be questioned. The main thesis is that the genre-play within history - primarily the use of drama and encomium - has a role in depicting the ironic portrait of the emperor Constantine IX Monomachos. [Projekat Ministarstva nauke Republike Srbije, br. 177015]

The text represents a specific approach to Gorgias' Praise to Helen. Instead of considering it as a cradle of art theory of illusion (apate) or some kind of rhetoric acrobatic feat in which Gorgia praises the blameworthy, author considers Praise to Helen as first aesthetic text in European philosophy in which fine arts and poetry had been connected by means of one notion - notion of psychagogia, and looks upon it as a foundation of art theory that could be denoted as theory of psychagogia.

Analyzing a scientific institution and its protagonists in diachronic perspective also entails different levels of (self)assessment - retrospection, introspection, and extrospection, which also points out to turmoils, stratifications, and contradictions of scientific temporal strategies. In this paper I am interpreting processes of the establishment of normative strategies, institutional politics, construction of collectivities, and individual aspirations at the Institute of Ethnography SASA from 1947 until present. Historical self-reflection encompasses five options through which scientific subjectivities and objectivities were formed and confronted: 1. Routinization of meaningful systems and sliding individual inventiveness; 2. Efficiency of the institutional order and distinctiveness in reaching scientific goals; 3. Determined order and individual agility in the zone of enterprising and skillful activism; 4. Consistency of scientific order and constant dynamics in the zones of public visibility; 5. Verifiability in accordance with institutional standards and coordinated work at the collegial level. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177026: Kulturno nasleđe i identitet]

The paper deals with the wall paintings in the Church of St. Nicholas tes Rhodias near Arta. Many scenes and individual figures are identified for the first time, and the majority of inscriptions on the frescoes are deciphered. A significant part of the text consists of a detailed analysis of the iconographic program, with particular emphasis on the iconography and style of certain depictions, which are seldom encountered in Byzantine wall painting, or possess specific features. The findings suggest that the decoration should be dated in the second half of the thirteenth century.

Речник појмова ликовних уметности и архитектуре. Том 1, А–Ђ. – Београд : Српска академија наука и уметности : Завод за уџбенике, 2014. Говорили: академик Милан Лојаница, др Љиљана Стошић, Драгољуб Којчић. У Београду, уторак 3. фебруар 2015. у 13 часова.

During June and July 2014, at the site of Zadružni Dom in Skelani, archaeological investigations of the late antique building were carried out, whose rooms were first discovered in the course of archaeological excavations in 2008. The building has a rectangular base, of a northeast-southwest orientation, with the discovered part measuring 20.90 x 30.90 m. What is distinguishable within the asymmetrical base is an entrance, along with eleven rooms, two of which have apses, and a peristyle, i.e. an inner courtyard with a roofed corridor surrounding it which connects all the rooms of the building. During the archaeological excavations, entrance thresholds and extremely well preserved mortar floors with mortar skirting were noted in most rooms, along with traces of fresco painting on the walls and mosaic floors, executed in the opus tesselatum technique, observed in several rooms, the peristyle and the encompassing corridor. The discovered mosaic fragments are decorated with geometric motifs in the form of a swastika, a Solomon’s knot, a square, a rhomboid, overlapping circles, etc. and floral motifs of ivy and petals, as well as a double braid motif. Small but, unfortunately, fragmented pieces of a mosaic with a figural representation were discovered in the central part of the peristyle, while the mosaic in room K was decorated with a motif portraying the winged head of Medusa. Two construction phases were noted, an older and a younger, with the walls, which were two Roman feet wide and built from dressed stone, and the older mortar floor belonging to the older construction phase, and the second, younger construction phase comprising mosaics, fresco painting, the younger mortar floor and two furnaces. Contemplating the planimetry of the building, one gets the impression of the rooms being divided between two parts - public and private, whereby the public part of the building would be located near the main entrance hall and would comprise rooms A, B, C, D and F, with mortar floors and traces of fresco painting on the walls. The other, possibly private, part of the building would include five rooms G, H, I, J and K and the inner courtyard. Rooms I, J and K had floor and wall heating, while rooms G and H had an arched apse and possibly functioned as a reception hall and/or a stibadium. The hallway with mosaics, which flanks the inner courtyard, was most likely roofed. Traces of burning in the north-western corridor testify to the destruction of the building in a fire. Based on the architectural elements and the traces of fresco painting and mosaics in the building at the site of Zadružni Dom in Skelani, it can be deduced that this is a late antique building which can roughly be dated to the period between the end of the 3rd and the mid-4th century AD, and whose lavish decoration implies that it was owned by an affluent resident of Skelani from the aforementioned period.

During 2005 and 2008, a team from Republic Cultural Heritage Preservation Institute carried out preservative, sondage, archaeological and revision exploration of the Church of Holy Virgin in Gradac monastery. The 2005 exploration aim was to uncover geomorphology and characteristics of soil and its moisture penetration, to make insight in condition of ground zones, uncovering of attached structures and archaeological material, obtaining stratigraphic data, all in purpose of obtaining data for making the Main Project for preserving the Church of Holy Virgin from moisture. The first phase of work started in 2008, and it included work on western, north-western and south-western part of the church. During these explorations, 9 sondages were opened and a drainage pit, in total area of 130 m² and total depth of 3 m. Beside medieval cultural layer and medieval necropolis, a prehistoric layer of 0.5-0.6 m depth was found which was documented with four residential horizons as well with other belonging archaeological material originated in period of the end of Early Bronze Age and Middle Bronze Age. Pottery from older prehistoric layer in Gradac, which was documented with two residential horizons, mainly consists of fragments of pottery made of weaker, refined clay, with smooth surfaces and with range of colour from brownish to dark grey. These are fragments of dishes and larger spherical pots with two vertical handles on wider part of body. Some fragments are decorated with wartlike bulges or recesses made with fingers. From fine pottery, there are pear-shaped amphorae with thin sides, bowls and cups. Beside pottery, in this layer there were also few fragments of different shapes made of Rozhnac stone, flints and quartzite, part of stone axe with perforation whose upper part is shaped into secant and two fragmented millstones made of quartzlathyte, a mineral found in mountain Golija (Pl. I-III). Analogies to this pottery are found in sites in Milica Brdo in Ljuljaci, several sites in region of Krusevac and in Kosovo and Metohia. Pottery of the earlier layer is made of better refined earth with additives of fine grained sand. It has smoother surface with light brown colours. Distinctive items are fragments of biconical and S profile bowls with lingulate handles and wartlike bulges and fragments of cups with emphasized curved handles that exceed the height of mouth edges. Beside this, there is also, in less numbers, pottery of rougher shapes, which mainly includes smaller pots of conical or biconical shapes with flat or slightly curved edges. Some fragments are decorated with fingerprints or notches and some of them have plastic ribs and engraved lines (Pl. IV-V). This pottery from earlier layers from Gradac is similar to pottery from sites in Morava Basin, regions of Krusevac, Kraljevo and Kosovo. Explorations of these settlements, though small by exploration area, gave precious data about residential architecture. Residential structures have been situated in middle and topmost part of the plateau and we assume that this settlement area has not been expanded, but that new buildings have been built in place of old ones. Remaining of these structures shows that they were solid and relatively commodious. Entrance, together with economy part, was on the south side. At the end of Early Bronze Age, settlement was abandoned, but it was reestablished in lesser scale during Middle Bronze Age. Reason for this could be a stable period during Middle Bronze Age, change of economy and beginning of migrating cattle breeding. Gradac settlement was completely abandoned during Middle Bronze Age and was not reestablished again in Prehistoric period.

The paper discusses the structure and carved decoration of the restored marble sanctuary screen from the island of Koločep near Dubrovnik. Based on the early medieval history of present-day southern Dalmatia and the fragmentary inscription commemorating a queen as the donor of the screen, it may be concluded that she was one of the Serbian Doclean (Duklja) queens from the second half of the eleventh century. The inscription is the only evidence that the kings of Dioclea ruled over the Elaphite islands. The carved decoration is typical of the Middle Byzantine period (9th-12th century), with some regional traits. The only exceptions are the figures of putti. They can be associated with Romanesque architectural sculpture in southern Italy created in the late eleventh century, after the Norman conquest of this region. The author puts forward the hypothesis that the donor was Queen Jaquinta, wife of King Bodin (1081-1101), who was a Norman woman from Bari.

This text gives a brief survey of history of fertility control in Serbia from the 19th century to present. Special attention is given to the mid 20th century, the period during which currently still prevalent model of fertility control has been constituted in Serbia. This model is marked by a combination of behavioral methods and abortion, as a backup method. The author scrutinizes structural and ideological features from different levels of social organization that have framed this model of family planning and examines its advantages over medical contraception from the users’ perspective. Finally, the text discusses the ambivalent status of abortion in society which has been at the same time rather widespread and normalized method of birth control and stigmatized. [Projekat Ministartsva nauke Republike Srbije, br. 41004]