Petindvajset let po krvavem razpadu socialistične Jugoslavije so zidovi postjugoslovanskih mest še vedno polni grafitov dveh domovin: aktualne nacionalne države in nekdanje jugoslovanske federacije. ...Glavna raziskovalna vprašanja članka, ki temelji na avtorjevem longitudinalnem raziskovanju in semioloških (kvalitativnih in kvantitativnih) metodoloških pristopih je, kako, kje in zakaj so v tej specifični urbani subkulturi Jugoslavija, njen socializem, njene protifašistične korenine in njeni voditelji (de)konstruirani, slavljeni in obsojani. Na ravni denotacije se grafiti in street art, ki se pogosto konfrontirajo v grafitarskih bitkah, delijo na pro- in protijugoslovanske. Na ravni konotacije se pojavljajo trije glavni ideološki antagonizmi: socialistični federalizem vs. nacionalizem, Tito vs. njegovi nasprotniki in antifašizem vs. fašizem. Temu sledi analiza ekspresivnih strategij tovrstne urbane produkcije, kot so provokacija in kritika, afirmacija in kontinuiteta, označevanje terena, nenehni antagonizem in semiološka gverila.
The article examines to what degree attachment to a former multinational state which breaks up may complicate national consolidation in new states, as was the case in the Soviet Union and Titoist ...Yugoslavia. In the former Yugoslavia such attachment is usually referred to as ‘Yugonostalgia’, and various opinions have been expressed about its strength and possible political consequences today. Only in 2011, however, was an attempt made to measure Yugonostalgia quantitatively and analyse this phenomenon comparatively in the various successor states. A large‐scale survey showed that while Yugonostalgics in some countries were less loyal than other citizens towards the new state this was not the case in Serbia. In Croatia, the number of respondents who felt Yugoslav has gone down since independence far more than in any other state; probably a result of a massive public campaign to discredit continued identification with the former state.
This essay argues for the construction of a Yugoslav Partisan counter-archive capable of countering both the dominant narrative of historical revisionism, which increasingly obfuscates the Partisan ...legacy, and the simplistic Yugonostalgic narrative of the last few decades. But if we are to engage in rethinking and recuperating the Partisan legacy we should first delineate the specificity and cultural potential of this legacy. This can only be done if we grant the Partisan struggle the status of rupture. The essay discusses three artworks from different periods that successfully formalise this rupture in three very diverse forms, namely poetry, sculpture and film. The aim of these three studies is to contribute to the (counter-)archive of the Yugoslav Partisan culture. Эта статья посвящена восстановле нию югославского партизанского анти-архива с целью дезавуирова ния как доминантного нарратива исторического ревизионизма, все более игнорирующего партизанское наследие, так и упрощенного югоно стальгического нарратива, возник шего после 1991 г. Но если мы хотим переосмыслить и восстановить партизанское наследство, необходи мо в первую очередь определить его специфические черты и культурный потенциал. Это возможно только в том случае, если мы предоставляем партизанскому движению статус прорыва. В статье обсуждаются три художественные произведения, соз данные в разные периоды, в которых удалось формализовать этот прорыв в трёх весьма разных формах, т. е. в поэзии, скульптуре и кино. Изуче- ние этих произведений задумано как вклад в анти-архив югославской партизанской культуры.
From Punk to Yugonostalgia: driving and resisting forces in the Umbildung process of Slovenian democratization. Slovenia can be considered as a borderland and a culture crossroads. It is necessary to ...look at its milieu in order to grasp both driving forces and resistances that acted in the Slovene cultural scene, academic and non-academic, from the last Yugoslavian decade to nowadays. It is a reality between the West and the East, decentralized in its inner nature, still divided between ‘yugophilia’ and ‘yugophobia’. To look at Slovenia now, twenty-five years after its independence and twelve years after its inclusion in Europe, means also to deepen such aspects as the underground scene of its Capital. Here it is possible to find unusual implications, as the relationship between the Psychoanalytic School of Ljubljana and the punk subculture; the aesthetical and political action carried on by the retro-avant-gardes; the ‘Titostalgia’ as a touristic attraction but also as a popular expression, beyond the politically correct; finally, the continue proliferation of alternative cultural places and subcultures: these and many others are the less known aspects of a unique and original path which is the Slovenian road to its collective identity formation.
Nationalists have accused those romanticizing the past and Tito's Yugoslavia of suffering from “Yugonostalgia”. Some of the accused have since “celebrated” that “malady”. We may gain insight into ...their conflict, on a theoretical level, from research on the general processes that feed both the memory-preserving and “memory-making” of nostalgia. Among those who have sought to remember modern Yugoslavia and to thereby contribute to a more nuanced history of its existence and demise, creative writers have offered some of the most thoughtful and evocative reminiscences. In his autobiographical
Mama Leone, “Yugoslav”/Bosnian/Croat writer Miljenko Jergović raises a number of questions, implicitly and explicitly, concerning memory. Yet, he also offers an elegant eulogy to a country, and a childhood, now lost.
In the given article the researchers analyze the representation of the period from the recent history- Socialist Yugoslavia-through the case study of national history museum and private exhibition. ...Although both of the analyzed objects are located in Ljubljana, the metastories which they construct and display are based on the different cultural patterns. They compare the differences of the narratives being used by the private and state institution and apply the visual analysis method together with semi-structured interviews for these purposes. As a result of their research, they show how differs official narration compared to the so-called Yugonostalgic or Titostalgic viewpoint and describe their main characteristics.
Yugoslavia no longer exists. There is only yugonostalgia i.e. nostalgia for all those things which is no longer in common state boundaries. There remains common corpus of historical memory which is ...imposed to researchers as a good basis for affirmation. After the tragic decomposition of Yugoslavia, nationalist tendencies, interruption of communication channels and national re-awakening in all former republics, the period of transition has arrived. But in the minds of ordinary people, political, economical and social changes have not brought long-expected “better life". Therefore more and more collective memory of everyday life, culture and social relations in the former Yugoslavia was revitalized. Yugonostalgia for a Yugoslav Union that no longer exists as a concept of studying the history of communication, can contribute to better understanding of the past and the future. For this reason, this paper attempts to explore the role of the concept of yugonostalgia as an important factor in studying the history of communication in the Yugoslav and post-Yugoslav context.
This paper is a contribution to the debates about European integration. Through a focus on cinema - more specifically, on the road movies in contemporary Slovenian cinema - I explore the ambivalence ...with which mobility in general and the road movie in particular have been perceived in this region of the new Europe. I argue that this ambivalence is not a sign of frustration or uncertainty; rather, it is an emancipatory dimension of a broader countercultural practice called yugonostalgia. Through an analysis of two contemporary Slovenian road movies, I trace the interweaving of Slovenian pro-European discourses and yugonostalgic counterdiscourses to show that this interweaving produces an inimitable cultural matrix in which an enabling model for a non-Eurocentric cosmopolitan project is beginning to emerge.
This paper concerns the recent internet-based music genre of yugowave. I first analyze the relation of this genre to its original Western model, vaporwave. Differences between the two, in terms of ...subject matter,ideology, and aesthetics are discussed, along with the complex question of the memory of the SFRY and Yugonostalgia in yugowave. Introducing serbwaveas a relation of yugowave, the encounter in praxis between the in theorypolitically neutral genre of vaporwave and propaganda is also discussed.Finally, I offer two possible readings of serbwave: either as one of several current neo-nationalistic appropriations of the vaporwave aesthetic, or,possibly, a way of processing cultural trauma caused by the wars of the 1990s.
Ovaj se članak bavi pitanjem kako se pojava dokumentarnog filma Vedo Rosso mogla shvatiti kao oblik jugonostalgije talijanske manjine koja živi u Rovinju. U radu se na temelju analize teksta i ...elicitacije pomoću video materijala proučavaju različite i dijelom ambivalentne reakcije te zajednice na vizualnu rekonstrukciju 1980-ih godina socijalističkog razdoblja. Pomoću intervjua koje su proveli autori i intervjua prikazanih u dokumentarnom filmu, u radu se rekonstruira pejzaž sjećanja na koji su, s jedne strane, utjecali međugeneracijski čimbenici, a s druge šire geopolitičke promjene koje su u nekoliko navrata i na različite načine transformirale istarski poluotok, a posebice primorski grad Rovinj. Dublje veze između sjećanja i nostalgije detaljno se analiziraju u postojećoj opširnoj i bogatoj interdisciplinarnoj literaturi. U tom je smislu ovaj rad pokušaj doprinosa dosadašnjim raspravama o jugonostalgiji, kako bi se pokazalo da je taj oblik memorijalizacije kompleksan i bogat način interpretacije promjenjive i nesigurne sadašnjosti od strane razmjerno marginalne etnojezične manjine u suvremenoj Hrvatskoj.
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