Repository of The Institute for Philosophy and Social Theory
    • English
    • Српски
    • Српски (Serbia)
  • English 
    • English
    • Serbian (Cyrillic)
    • Serbian (Latin)
  • Login
View Item 
  •   RIFDT
  • IFDT
  • Radovi istraživača
  • View Item
  •   RIFDT
  • IFDT
  • Radovi istraživača
  • View Item
JavaScript is disabled for your browser. Some features of this site may not work without it.

Memorijalizacija prošlosti kroz umetničke forme: sećanje na partizanski pokret tokom i nakon Jugoslavije

Memorialization of the Past through Artistic Forms: Rememberance of the Partisan Movement during and after Yugoslavia

Thumbnail
2021
bitstream_8694.pdf (223.2Kb)
Authors
Vasiljević, Jelena
Article (Published version)
Metadata
Show full item record
Abstract
Kulturni pristup studijama sećanja posebno naglašava važnost tekstualizacije i vizualizacije (kulturne medijacije) društveno deljenih sećanja na prošlost. Međutim, dok se akcenat prevashodno stavlja na pitanja zašto neke predstave o prošlosti postaju dominantne u odnosu na druge, zašto se preferirane slike prošlosti menjaju tokom vremena, kao i kako se, pod kojim okolnostima i uz pomoć kojih aktera ove izmene u odabiru i predstavljanju „poželjne“ prošlosti odigravaju, manje se pažnje poklanja pitanju smene dominantnih medija kojima se slike prošlosti prenose. Istraživačko pitanje ovog rada jeste zašto u određenim društvenopolitičkim okolnostima i istorijskim periodima neke umetničke forme postaju naročito relevantne za kolektivne predstave o deljenoj prošlosti. Mogu li nam same umetničke forme, kao mediji prenošenja poruka iz prošlosti, reći nešto o društveno-istorijskoj funkciji kolektivnog sećanja, kao i o samom društvu koje se na ovaj način „obraća“ svojoj p...rošlosti? U pokušaju da ponudi potvrdni odgovor na ovo pitanje, rad će se osvrnuti na favorizovane umetničke izraze sećanja na Drugi svetski rat u tri vremenska trenutka, u socijalističkoj Jugoslaviji i nakon nje: radi se o okvirnim vremenskim periodima kada se sećanje na Drugi svetski rat: 1) ozvaničava i institucionalizuje kao narativ o partizanskoj borbi i pobedi; 2) osporava, te preoblikuje u „disidentski“ narativ; 3) preuzima od nekadašnjeg oficijelnog sećanja i pretvara u oblik društveno-kulturne kritike.

In memory studies, the importance of textualization and visualization (cultural mediation) of the socially shared memories of the past is particularly emphasized. However, while the accent is on the issues of the reasons for some representations to become dominant in relation to others, why the preferred images of the past change over time, as well as of the circumstances and actors that facilitate these changes in the choice and representation of the “desirable” past, less attention is paid to the change in the dominant media through which these images are transferred. This paper examines the reasons behind certain socio-political circumstances and historical periods that render particularly relevant some artistic forms in collective representations of the shared past. Can the artistic forms themselves, as the media of transfer of the messages from the past, testify of the socio-historical function of collective memory, as well as of the society that “addresses” its past in th...is manner? Aiming for the affirmative answer to this question, the text discusses the favoured artistic expressions of the memory of the World War II in three chronological segments in the socialist Yugoslavia and after its collapse, when the memory is 1) marked and institutionalized as the narrative of the partisans’ struggle and victory; 2) disputed and reshaped as the “dissident” narrative; and 3) taken over from the former official memory and transformed into a form of social-cultural critique.

Keywords:
kultura sećanja / umetnost / Jugoslavija / partizanska borba / partizanski spomenici / partizanske pesme
Source:
Etnoantropološki problemi, 2021, 16, 3, 899-915
Publisher:
  • Beograd: Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu
Funding / projects:
  • Ministry of Education, Science and Technological Development, Republic of Serbia, Grant no. 200025 (University of Belgrade, Institute for Phylosophy and Social Theory) (RS-200025)

DOI: 10.21301/eap.v16i3.11

ISSN: 2334-8801

[ Google Scholar ]
URI
http://rifdt.instifdt.bg.ac.rs/123456789/2458
Collections
  • Radovi istraživača
Institution/Community
IFDT
TY  - JOUR
AU  - Vasiljević, Jelena
PY  - 2021
UR  - http://rifdt.instifdt.bg.ac.rs/123456789/2458
AB  - Kulturni  pristup  studijama  sećanja  posebno  naglašava  važnost tekstualizacije  i  vizualizacije  (kulturne  medijacije)  društveno  deljenih  sećanja  na prošlost. Međutim, dok se akcenat prevashodno stavlja na pitanja zašto neke predstave o prošlosti postaju dominantne u odnosu na druge, zašto se preferirane slike prošlosti menjaju tokom vremena, kao i kako se, pod kojim okolnostima i uz pomoć kojih aktera ove izmene u odabiru i predstavljanju „poželjne“ prošlosti odigravaju, manje se pažnje poklanja pitanju smene dominantnih medija kojima se slike prošlosti prenose. Istraživačko pitanje ovog rada jeste zašto u određenim društvenopolitičkim okolnostima i istorijskim periodima neke umetničke forme postaju naročito relevantne za kolektivne predstave  o  deljenoj  prošlosti.  Mogu  li  nam  same  umetničke  forme,  kao  mediji prenošenja poruka iz prošlosti, reći nešto o društveno-istorijskoj funkciji kolektivnog sećanja, kao i o samom društvu koje se na ovaj način „obraća“ svojoj prošlosti? U pokušaju da ponudi potvrdni odgovor na ovo pitanje, rad će se osvrnuti na favorizovane umetničke izraze sećanja na Drugi svetski rat u tri vremenska trenutka, u socijalističkoj Jugoslaviji i nakon nje: radi se o okvirnim vremenskim periodima kada se sećanje na Drugi svetski rat: 1) ozvaničava i institucionalizuje kao narativ o partizanskoj borbi i pobedi; 2) osporava, te preoblikuje u „disidentski“ narativ; 3) preuzima od nekadašnjeg oficijelnog sećanja i pretvara u oblik društveno-kulturne kritike.
AB  - In memory studies, the importance of textualization and visualization (cultural mediation) of the socially shared memories of the past is particularly emphasized. However, while the accent is on the issues of the reasons for some
representations to become dominant in relation to others, why the preferred images of the past change over time, as well as of the circumstances and actors
that facilitate these changes in the choice and representation of the “desirable”
past, less attention is paid to the change in the dominant media through which
these images are transferred. This paper examines the reasons behind certain
socio-political circumstances and historical periods that render particularly relevant some artistic forms in collective representations of the shared past. Can
the artistic forms themselves, as the media of transfer of the messages from the
past, testify of the socio-historical function of collective memory, as well as of
the society that “addresses” its past in this manner? Aiming for the affirmative
answer to this question, the text discusses the favoured artistic expressions of the memory of the World War II in three chronological segments in the socialist
Yugoslavia and after its collapse, when the memory is 1) marked and institutionalized as the narrative of the partisans’ struggle and victory; 2) disputed and
reshaped as the “dissident” narrative; and 3) taken over from the former official
memory and transformed into a form of social-cultural critique.
PB  - Beograd: Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu
T2  - Etnoantropološki problemi
T1  - Memorijalizacija prošlosti kroz umetničke forme: sećanje na partizanski pokret tokom i nakon Jugoslavije
T1  - Memorialization of the Past through Artistic Forms: Rememberance of the Partisan Movement during and after Yugoslavia
IS  - 3
VL  - 16
SP  - 899
EP  - 915
DO  - 10.21301/eap.v16i3.11
ER  - 
@article{
author = "Vasiljević, Jelena",
year = "2021",
abstract = "Kulturni  pristup  studijama  sećanja  posebno  naglašava  važnost tekstualizacije  i  vizualizacije  (kulturne  medijacije)  društveno  deljenih  sećanja  na prošlost. Međutim, dok se akcenat prevashodno stavlja na pitanja zašto neke predstave o prošlosti postaju dominantne u odnosu na druge, zašto se preferirane slike prošlosti menjaju tokom vremena, kao i kako se, pod kojim okolnostima i uz pomoć kojih aktera ove izmene u odabiru i predstavljanju „poželjne“ prošlosti odigravaju, manje se pažnje poklanja pitanju smene dominantnih medija kojima se slike prošlosti prenose. Istraživačko pitanje ovog rada jeste zašto u određenim društvenopolitičkim okolnostima i istorijskim periodima neke umetničke forme postaju naročito relevantne za kolektivne predstave  o  deljenoj  prošlosti.  Mogu  li  nam  same  umetničke  forme,  kao  mediji prenošenja poruka iz prošlosti, reći nešto o društveno-istorijskoj funkciji kolektivnog sećanja, kao i o samom društvu koje se na ovaj način „obraća“ svojoj prošlosti? U pokušaju da ponudi potvrdni odgovor na ovo pitanje, rad će se osvrnuti na favorizovane umetničke izraze sećanja na Drugi svetski rat u tri vremenska trenutka, u socijalističkoj Jugoslaviji i nakon nje: radi se o okvirnim vremenskim periodima kada se sećanje na Drugi svetski rat: 1) ozvaničava i institucionalizuje kao narativ o partizanskoj borbi i pobedi; 2) osporava, te preoblikuje u „disidentski“ narativ; 3) preuzima od nekadašnjeg oficijelnog sećanja i pretvara u oblik društveno-kulturne kritike., In memory studies, the importance of textualization and visualization (cultural mediation) of the socially shared memories of the past is particularly emphasized. However, while the accent is on the issues of the reasons for some
representations to become dominant in relation to others, why the preferred images of the past change over time, as well as of the circumstances and actors
that facilitate these changes in the choice and representation of the “desirable”
past, less attention is paid to the change in the dominant media through which
these images are transferred. This paper examines the reasons behind certain
socio-political circumstances and historical periods that render particularly relevant some artistic forms in collective representations of the shared past. Can
the artistic forms themselves, as the media of transfer of the messages from the
past, testify of the socio-historical function of collective memory, as well as of
the society that “addresses” its past in this manner? Aiming for the affirmative
answer to this question, the text discusses the favoured artistic expressions of the memory of the World War II in three chronological segments in the socialist
Yugoslavia and after its collapse, when the memory is 1) marked and institutionalized as the narrative of the partisans’ struggle and victory; 2) disputed and
reshaped as the “dissident” narrative; and 3) taken over from the former official
memory and transformed into a form of social-cultural critique.",
publisher = "Beograd: Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu",
journal = "Etnoantropološki problemi",
title = "Memorijalizacija prošlosti kroz umetničke forme: sećanje na partizanski pokret tokom i nakon Jugoslavije, Memorialization of the Past through Artistic Forms: Rememberance of the Partisan Movement during and after Yugoslavia",
number = "3",
volume = "16",
pages = "899-915",
doi = "10.21301/eap.v16i3.11"
}
Vasiljević, J.. (2021). Memorijalizacija prošlosti kroz umetničke forme: sećanje na partizanski pokret tokom i nakon Jugoslavije. in Etnoantropološki problemi
Beograd: Odeljenje za etnologiju i antropologiju Filozofskog fakulteta u Beogradu., 16(3), 899-915.
https://doi.org/10.21301/eap.v16i3.11
Vasiljević J. Memorijalizacija prošlosti kroz umetničke forme: sećanje na partizanski pokret tokom i nakon Jugoslavije. in Etnoantropološki problemi. 2021;16(3):899-915.
doi:10.21301/eap.v16i3.11 .
Vasiljević, Jelena, "Memorijalizacija prošlosti kroz umetničke forme: sećanje na partizanski pokret tokom i nakon Jugoslavije" in Etnoantropološki problemi, 16, no. 3 (2021):899-915,
https://doi.org/10.21301/eap.v16i3.11 . .

DSpace software copyright © 2002-2015  DuraSpace
About RIFDT | Send Feedback

OpenAIRERCUB
 

 

All of DSpaceCommunitiesAuthorsTitlesSubjectsThis institutionAuthorsTitlesSubjects

Statistics

View Usage Statistics

DSpace software copyright © 2002-2015  DuraSpace
About RIFDT | Send Feedback

OpenAIRERCUB