Academic literature on the topic 'Art, Yugoslav'
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Journal articles on the topic "Art, Yugoslav"
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Calovic, Dragan. "Art politicking in postwar Yugoslavia." Zbornik Matice srpske za drustvene nauke, no. 137 (2011): 533–46. http://dx.doi.org/10.2298/zmsdn1137533c.
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In this paper, we are focusing on the process of art politicking in Yugoslav art theory in the period from 1945 to 1952. The work time span is determined by the existence of the Apparatus for agitation and propaganda, by means of which the development of art theory and practice was greatly determined in the postwar Yugoslavia. The set problem is to be approached through consideration of demands which official art theory was set to Yugoslav artist of this period, as well as through consideration of artistic and theoretic frames by which perspective of art politicking was determined. In this paper, art politicking is seen like specific manifestation of ideological position by which official political platform in the period from 1945 to 1952 was built. According to this, interpretation of art politicking not only as act of propaganda, but as well as symbol of fight for accomplishment of vision of new Yugoslav society is proposed.
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MATKOVIĆ, ALEKSANDAR. "CONCEPTUAL ART AND SOCIAL DEVIANCE IN SFR YUGOSLAVIA." Kultura polisa, no. 44 (March 8, 2021): 205–21. http://dx.doi.org/10.51738/kpolisa2021.18.1r.3.04.
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The paper investigates the relationship between the phenomenon of conceptual art and various manifestations of social deviance in the area of the Socialist Federal Republic of Yugoslavia. The first part discusses the general relationship between conceptual art and social deviance, while the second part presents the socio-political context in which Yugoslav conceptual art developed during the 1970s. The third part is dedicated to recognizing and analyzing several socially deviant forms that can be noticed in connection with the mentioned segment of Yugoslav art from the 1970s. Special attention is paid to the category of deviant phenomena which we defined as “anti-system deviations.” In the final, fourth part, the peculiarities of socially deviant Yugoslav conceptual art manifestations are noticed. Among the more significant insights, the considerable presence of anti-system deviations within the activities of one part of the Yugoslav conceptual scene was emphasized. The ambivalence of the Yugoslav regime in terms of its attitude towards the artistic neo-avant-garde was also identified: on the one hand, a significantly more liberal attitude compared to the Eastern Bloc regimes, but also readiness for decisive persecution in case of open encroachment on the ruling order. As one of the primary conclusions, it was noticed that Yugoslav conceptual art (following the fate of Yugoslavia as a state “between East and West”), in terms of social deviance, was also halfway between conceptualists from Western countries and those from the Eastern Bloc. In that sense, the socio-political regime in the SFRY provided a much higher degree of personal and artistic freedoms than was the case in most socialist states, but at the same time vigorously sanctioned anti-systemic and anti-state actions to ensure the ruling order.
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Videkanić, Bojana. "Yugoslav Postwar Art and Socialist Realism: An Uncomfortable Relationship." ARTMargins 5, no. 2 (June 2016): 3–26. http://dx.doi.org/10.1162/artm_a_00145.
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This text examines the first official exhibition of the Yugoslav Association of Fine Artists, and the theoretical, socio-political, and institutional contexts of the Socialist Realist period in Yugoslav art (spanning roughly the years between1945 and 1954). Post-war artistic and cultural environment, the first exhibition, and critical aesthetic debates around Socialist Realism exemplify Yugoslavia's struggle to make sense of, and implement, Socialist Realism as an official artistic, cultural, and political category. Its development paralleled the state's own wrestling with notions of socialist governance and its proper implementation. Difficulties with Socialist Realist aesthetic and the ensuing paradoxes in its adaptation in Yugoslav art are at the core of the dialogs, theoretical discourses, and critical responses to the first exhibition. My analysis uses accounts and reviews of the exhibition, as well as official writings and arguments presented by the state and cultural officials to argue that Yugoslav art of the time was in fact transgressive, a hybrid of modernism and Socialist Realism. Rather than reading its hybridity as a failure, as some have argued, I read the hybridity of Yugoslav art as a space of possibilities that would have opened a new art praxis in Yugoslavia of the time.
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Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 31. http://dx.doi.org/10.25038/am.v0i13.185.
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The genre of the mass song is one of the fundamental phenomena in aesthetics and practice of socialist realism. Mass songs are supposed not only to be accessible to the lay audience, but also to be composed in a way that invites the participation of amateurs. Importantly, the institutions which have been disseminating the mass song under state socialism, such as various institutions of education, culture and art, have also served as mechanisms for the normalization of its ideological content. This article summarizes important aspects of the concept of the mass song in general and offers a multifaceted exemplification, before proceeding to discuss the history of mass songs in socialist Yugoslavia (including, by and large, what is usually referred to as partisan songs), with emphasis on the institutional framework through which they were practiced and disseminated, and on specificities that the genre had accrued within the Yugoslav framework. This historical framework of practicing mass songs in Yugoslavia provides a platform for opening the question of intrinsic incompatibility between the project of a classless society and the institution of art. In regards to this, article discusses contemporary practice of Yugoslav mass songs as practiced by self-organized choirs and their new political potential. Article received: May 6, 2017; Article accepted: May 14, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Atanasovski, Srđan. "Socialism or Art: Yugoslav Mass Song and Its Institutionalizations." AM Journal of Art and Media Studies 13 (2017): 31-42. doi: 10.25038/am.v0i13.185
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Radović, Srđan. "Channeling the Country’s Image: Illustrated Magazine Yugoslavia (1949–1959)." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 17. http://dx.doi.org/10.25038/am.v0i13.180.
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This paper briefly reviews and discusses the contents of the illustrated magazine Jugoslavija (Yugoslavia), published from 1949 to 1959, and edited by prolific Yugoslav intellectual and artist Oto Bihalji-Merin. This edition is critically examined as a means of creating an image of Yugoslavia in the years of momentous political and social changes in Yugoslav society, and during the height of the Cold War and country’s realignment in international relations. Serving also as a cultural window to the outside world, Jugoslavija promulgated concepts of a specific Yugoslav modernity, ethnic and national diversity, and a ‘third position’ on the global political and cultural map of the 1950s. Article received: May 5, 2017; Article accepted: May 13, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Radović, Srđan. "Channeling the Country’s Image: Illustrated Magazine Yugoslavia (1949–1959)." AM Journal of Art and Media Studies 13 (2017): 17-30. doi: 10.25038/am.v0i13.180
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Praznik, Katja. "Alternative culture, civil society and class struggle." Maska 35, no. 200s3 (December 1, 2020): 58–69. http://dx.doi.org/10.1386/maska_00043_1.
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Abstract The abridged Chapter 5 from Praznik’s Slovenian book The Paradox of Unpaid Artistic Labour: Autonomy of Art, the Avant-Garde and Cultural Policy in the Transition to Post-Socialism (Ljubljana: Sophia, 2016) reconsiders alternative art workers’ political agenda of the 1980s in light of political transformations of late Yugoslav socialism and the emergence of neo-liberal rationality. During the 1980s, art workers of the alternative art scene in Yugoslavia aimed to redefine and transform socialist production model by critiquing socialist ideology and institutions without taking issue with class differences in the arts. The chapter demonstrates how the 1980s alternative art scene did not consider transformations of working relations of the freelance art workers who were at that time redefined by cultural policy as socialist cultural entrepreneurs. By examining government’s attitudes of and policies for artistic labour the author argues that the spontaneous absorption of neo-liberalism (the realization of personal freedom) and exclusive focus on the critique of repressive state apparatuses during the late Yugoslav socialist period undermined the mandate of the welfare state’s institutions, which secured collective social reproduction and security. After the destruction of Yugoslavia in the early 1990s, the protagonists of the alternative art scene became members of the post-socialist precariat of self-employed cultural entrepreneurs who are divorced from social security and economic stability.
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Petrov, Ana. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies, no. 13 (September 15, 2017): 43. http://dx.doi.org/10.25038/am.v0i13.182.
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In this article I address the ways in which rock band Bijelo Dugme (White Button) has become one of the symbols of the former Yugoslavia, by analyzing its activities and reception, both in the Yugoslav and the post-Yugoslav periods. Starting from 1974, when its first album was released, Bijelo Dugme gained high popularity and drew the attraction of the public due to its specific sound and image. Being between the East and the West, Yugoslavia’s popular music scene was constantly focused on searching for a kind of music that would epitomize the ‘authentic’ Yugoslav music. The folk-influenced hard rock sound (so-called shepherd rock) was recognized as such a feature and it soon became one of the symbols of Yugoslav culture itself, making Sarajevo one of its epicenters. I here argue that the band appears to be a Yugoslav symbol since (1) its active years coincide precisely with the period in Yugoslavia that was marked with relevant changes, beginning with its 1974 constitution and ending with its disintegration; (2) it is regarded as a feature representing one of the most important successes of the country’s popular music industry; and (3) it has had a specific ‘afterlife’ that sheds light on the ways culture in the Yugoslav era is perceived currently. Article received: May 1, 2017; Article accepted: May 8, 2017; Published online: September 15, 2017Original scholarly paperHow to cite this article: Petrov, Ana. "In Search of ‘Authentic’ Yugoslav Rock: The Life and Afterlife of Bijelo Dugme." AM Journal of Art and Media Studies 13 (2017): 43-59. doi: 10.25038/am.v0i13.182
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Mancic, Ivana. "Outside of Memories We Belong, Women of Yugoslavia." Identities: Journal for Politics, Gender and Culture 17, no. 2-3 (December 30, 2020): 82–88. http://dx.doi.org/10.51151/identities.v17i2-3.460.
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This article addresses the issues surrounding the Yugoslav Civil War by offering my personal narrative in relation to loss and disappearance resulting from the exposure to war and sanctions in the nineties and the “Merciful Angel“ operation of the bombing of Serbia by NATO in 1999. It thus focuses on the female interpretation of people, ways of life, buildings and human artifacts belonging to the historical period of communist Yugoslavia which once were, yet no longer remain. The work with archives, especially the photographs which originate from my personal family possession, brings closer these ghosts of the past times to the present moment. At the same time, photography is a means to investigate the position and treatment of women during and after the period of Yugoslavia, their efforts and struggles for emancipation. The usage of photography as a visual narrative allows an insight into the lives of women during communism through the lens of my closest female family members. The article tackles different issues concerning women in communist Yugoslavia, and follows certain steps in their history, from the emancipation following the Second World War and participation of women in battle as combatants and nurses, their efforts in rebuilding the country and subsequent reestablishment of patriarchal values which occurred at the start of Yugoslav Civil war and conflicts that marked it. Autoethnography as a research method combined with personal narrative allows a deeper understanding of culture and values of Yugoslav society and their subsequent clash. In addition to this, it celebrates the importance of female voice and activism in the constant battle against patriarchy and women who chose to defy it by acknowledging responsibility and the patriarchal nature of war. Photographic practice-based research allows an insight into individual stories which form a deeper understanding of the pre- and post- war Yugoslav society and political circumstances surrounding it. Author(s): Ivana Mancic Title (English): Outside of Memories We Belong, Women of Yugoslavia Journal Reference: Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020) Publisher: Institute of Social Sciences and Humanities - Skopje Page Range: 82-88 Page Count: 7 Citation (English): Ivana Mancic, “Outside of Memories We Belong, Women of Yugoslavia,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 82-88. Author Biography Ivana Mancic, Nottingham Trent University Ivana Mancic is a Ph.D, researcher in Fine Art, School of Art and Design at Nottingham Trent University, U.K., with the focus on art practice aimed at the production of multi-disciplinary artworks, videos and installations, the purpose of which is to display the personal narrative to address the issues of war, loss and belonging, related to the specificity of the ex-Yugoslav context in order to contribute to the developing of the female voice of artists and pacifists in contemporary art. The personal narrative is presented in the written form through artworks, texts, essays and reflections on war experiences and current world crises through intersections between the present and the past.
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Ilić, Marko. "“Made in Yugoslavia”: Struggles with Self-Management in the New Art Practice, 1965–71." ARTMargins 8, no. 1 (February 2019): 6–30. http://dx.doi.org/10.1162/artm_a_00225.
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In September 1978, Zagreb's Gallery of Contemporary Art staged the first survey exhibition of conceptual and performance art in Yugoslavia: The New Art Practice, 1966–78. Forty years on, the phenomenon continues to attract a substantial amount of scholarly and curatorial attention, largely because of its globally-renowned affiliates, such as Marina Abramović, Sanja Iveković and Mladen Stilinović, among others. But academic work has been hesitant to address the deeper political, economic and institutional factors that underpinned the New Art's emergence and secured its prolific development. This article proposes that the New Art both came out of, and responded to, a complex and contradictory moment in Yugoslavia's history, when the country began to integrate itself deeper into the Western capitalist world system. It follows the emergence of the OHO group in Ljubljana and two particular episodes in the youth centers of Zagreb and Novi Sad alongside a brief, but decisive, period of liberalization, which began with a massive economic reform in 1965 and was briefly interrupted by a crisis in federal politics in 1971/2. To this end, it examines how artists addressed the impact of these developments on Yugoslav “self-managing” socialism, and its promises of grassroots participation and a more experimental political culture. While stressing the absolute importance of situating the New Art Practice in its precise historical context, the article seeks to provide a new model for a transnational study with a Pan-Yugoslav focus – by mapping how artistic ideas circulated in the Yugoslav cultural space, it provides a glimpse into the tightly woven networks of exchange that enabled the New Art scenes to thrive.
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Praznik, Katja. "Artists as Workers." Social Text 38, no. 3 (September 1, 2020): 83–115. http://dx.doi.org/10.1215/01642472-8352259.
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This article offers a contribution to the political economy of creative labor in socialist Yugoslavia, tracing the emergence of a socialist entrepreneur from the shell of an art worker. It discusses shifts in economic policies that restructured the economic and material conditions of art workers from models based on welfare in the early socialist period to a freelance and self-employment labor model implemented during the last decade of Yugoslav socialism. Linking socialist political economy with the study of art, the article analyzes legal regulation and rare artists’ interventions concerning the material conditions for artistic labor to animate the political critique of relationship between art and labor. The study of Yugoslav art workers’ demise reveals the detrimental effects of the bourgeois ideology of autonomy and creativity. Informed by feminist critique of reproductive labor, the argument is based on an analogy between housework and artistic labor to uncover mutual mechanisms of naturalization and economic disavowal of these types of labor. The author demonstrates that, unlike the ways in which reproductive labor is devalued, the exceptionality of creative work and the unique status of artists, which socialism maintained and glorified, made their form of labor vulnerable to exploitation and disavowal. The dissolution of labor identity of artists pitched creativity and subsistence against each other and became significant for neoliberal exploitation of artistic labor after the violent destruction of socialist Yugoslavia in 1991. Separating art from subsistence in the interest of articulating the value of artistic autonomy reintroduced false dichotomies and situated art at the heart of twenty-first-century forms of capitalist exploitation.
Dissertations / Theses on the topic "Art, Yugoslav"
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Vujanovic, Branka [Verfasser]. "Aesthetics of transgression and its strategies in post-Yugoslav art / Branka Vujanovic." Gießen : Universitätsbibliothek, 2017. http://d-nb.info/1138195227/34.
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Vujanovi´c, Branka [Verfasser]. "Aesthetics of transgression and its strategies in post-Yugoslav art / Branka Vujanovic." Gießen : Universitätsbibliothek, 2017. http://d-nb.info/1138195227/34.
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MacNelly, Julia. "The City and The Stage: Ethics of Performance in Ex-Yugoslavia." Scholarship @ Claremont, 2014. http://scholarship.claremont.edu/scripps_theses/495.
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In this project, contemporary theater and performance art is examined in four cities in ex-Yugoslavia. War has pervaded all of the sites in some way, interrupting a sense of normalcy, altering the city physically as well as ideologically. For that reason, interaction with urban space becomes a central element in performances—whether it serves to preserve the city’s identity amidst destruction, to cleanse the city from the shame of official exploits, to break from the insular legacy of nationalism that flooded the streets, or to gather the city together in a process of collective healing.
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au, lasko2nd@yahoo com, and Tomaz Lasic. "Experiences of schooling of students with former Yugoslav ethnic background in a Western Australian secondary school." Murdoch University, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080812.150558.
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Ethnicity is an important social construct mobilised in the discourses of multicultural education. At present, little research exists on the way ethnicity impacts on the schooling experiences of students with former Yugoslav background (SFYB) in Australia.
This qualitative study looks at the daily realities of twelve SFYB at a Western Australian government secondary school. Particular attention is paid to the management of their ethnic identities to achieve their educational, social and other goals.
Data gathered from the twelve in-depth, guided interviews with SFYB is analysed through the lens of critical multiculturalism, posited as one of several notions of multiculturalism and one with a specific social justice agenda. Theories of hybridity developed by Homi Bhabha and Stuart Hall are translated into the critical multiculturalist framework and provide a further development of the analysis of the data in which hybridity is seen as both experiences and enactments.
The study findings suggest that these SFYB embody the principles of critical multiculturalism as skilful managers of contingencies of ethnic identities, aspirations and challenges they encounter at the school. The study also proposes that the notion of critical, power conscious hybridity could be useful as a conceptual tool in the future work of critical multiculturalists.
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Lašič, Tomaž. "Experiences of schooling of students with former Yugoslav ethnic background in a Western Australian secondary school /." Access via Murdoch University Digital Theses Project, 2007. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20080812.150558.
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au, 29948291@student murdoch edu, and Ivana Pelemis. "Acculturation Differences in Family Units from Former Yugoslavia." Murdoch University, 2006. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20071211.100224.
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Focus of on-going cross-cultural investigation has throughout the time shown that inadequate language skills paired with absence of knowledge of cultural practices and norms within the receiving society would create a number of stress behaviors among immigrants, often manifested as lowered mental health status- depression, anxiety, confusion; feelings of marginality and alienation; psychosomatic symptoms and identity confusion (Berry and Annis, 1988; Greenberg & Greenberg, 1989; Kessler, Turner and House, 1988; Shams and Jackson, 1994; Vega et al., 1986; Vinokur, Price and Caplan, 1991; Winefield, Winefield, Tiggermann and Goldney, 1991). It was further noticed that refugee populations across the world are adapting to the receiving societies in a much slower rate then other migrating groups (Greenberg & Greenberg, 1989), and yet due to sensibilities surrounding research of a refugee population, there are still questions surrounding this process. In addition, it appears that the attempts to demystify acculturation and uncover objective underpinnings of it, has further reduced the current concept undermining validity and reliability of the findings. Therefore need for subjective experience and definition of acculturation, as well as reconsideration of complexity of the phenomenon (acculturation) was recognised by this research.
This study was designed to offer a qualitative insight into the acculturative differences within a family unit among refugees from former Yugoslavia. 21 women, recent refugee- arrivals were requested to participate in the open- end interview. In the semi- structured interview the women were asked to give a detailed account of their personal, their partners and their childrens experiences concerning the emotional, social, economical, occupational and psychological aspects of their and their family- members acculturation processes. The obtained data was analysed through the means of narrative and Ericksons analytic induction. The results showed that cultural incompatibilities have spread into diverse spheres of living, thus complexity of the acculturation-related problems was acknowledged. The results showed that (1) split families (due to immigration), (2) inability to establish new social ties in the novel environment and (3) decay in professional status were often reported in connection with eroded physical and mental well-being of the participants and their families. The research also looked at cultural diversities, and gender differences, concentrating on concepts of resilience and coping strategies within the acculturative practice. It appears that cognitive restructuring and the ability to let go of the previous lives was the best coping mechanism.
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Jackson, Megan Renee, and Megan Renee Jackson. "Running Bodies: Contemporary Art's Histories." Diss., The University of Arizona, 2016. http://hdl.handle.net/10150/621284.
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The basic, universal movement of the running body has been repeated and made visible in aesthetic, scientific, and political debates. Such debates of the body may depend on live movements in real space-time, movements articulated by motion capture devices, or movements that exercise in imagination: a head of state who uses the running body to manipulate his political subject, for example, or a series of images taken from an optical motion capture system that simultaneously represents and dissects movement patterns of the body in its swiftest motions, or a sound art installation that voices the familiar dynamics of running steps and heavy breathing. In each instance, the bodily practice of running is extracted from its seemingly unmediated everyday, placed instead within aesthetic methodologies and technologies to scrutinize the movement and its complex of meanings. This action is meant to reveal that real experience-that nonfictional movement, as it were-of the body running, to see into the rhetorical, cultural productions of our public, bodily realities. I begin this inquiry by defining the term "running body" and examining the manner in which that body was scientifically observed and aesthetically codified in the late nineteenth and early twentieth centuries. Then, the running body is investigated in experimental choreography, visual arts, and political demonstrations in the 1960s and 1970s. Thirdly, I will address the use of the actual running body within contemporary art exhibitions, as either an intervention or interruption to accustomed meaning-making within traditional spaces for art. At the dissertation's end will be an exploration of the running body as a critical method for reorienting the narrative of contemporary history with image technologies, art installation devices, and the moving body. This study demonstrates that if, at the very base of our existence, our bodies move the world and, in turn, the world around us moves our body, this same reciprocity can hold true in shaping historical consciousness and self-consciousness.
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Dzuverovic, Lina. "Pop art tendencies in self-managed socialism : pop reactions and counter-cultural pop in Yugoslavia in 1960s and 1970s." Thesis, Royal College of Art, 2017. http://researchonline.rca.ac.uk/2850/.
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This thesis explores forms of Pop Art on the territory of the former Yugoslavia in the 1960s and 1970s, seeking to identify its local variants. Yugoslavia, a single party state, built on the legacy of the anti-fascist Partisan struggle, principles of solidarity, egalitarianism, self-management and a strong sense of internationalism due to its founding role in the Non-Aligned Movement, was, at the same time, a country immersed in what has been termed 'utopian consumerism'. The thesis examines how Yugoslav artists during this period dealt with the burgeoning consumer society and media boom, kitsch and the Westernization of Yugoslav culture, phenomena which were ideologically at odds with the country’s own socialist principles. Starting from an analysis of the role of the artist in post-war Yugoslav system of self-management, the thesis proposes that Pop in Yugoslavia can be read as a critical site of articulation and negotiation of that role. Yugoslavia’s founding principles, formed as a legacy of the People’s Liberation Struggle (1941 – 1945), were based upon self-management and the introduction of social property, with art being a democratizing force with a central emancipatory role in the building of the new socialist state. But socialist modernism gradually relegated culture to a more illustrative role, as a form of ‘soft power’ for the Socialist Federal Republic of Yugoslavia. The thesis proposes a reading of artists’ diverse engagements with popular culture and materials as varied expressions of resistance to the severing of links with Yugoslavia’s founding principles. My original contribution to knowledge lies in the identification of two strands of Pop in the country–‘Yugoslav Pop Reactions’ and ‘Yugoslav Countercultural Pop’ which each turned to popular culture and cheap everyday materials as an alternative channel through which to respond to socialist modernism. My claim is that the two positions represent two diametrically opposed responses to the disenchantment with socialist modernism and artists’ roles in society – both using the language of Pop Art but representing two different conceptual positions. The thesis is structured around three core questions. Firstly it asks whether it is possible to retrospectively apply the category of Pop Art to artworks which never originally claimed this term. Secondly it examines ways in which Pop tendencies altered the position of Yugoslav female artists, who, marginalised in a heavily male-dominated environment, looked to Pop as an enabling force, allowing new working methods and‘giving licence’ to new types of practices. The third question is concerned with the relationship between power, politics and Pop Art in Yugoslavia, asking to what extent Yugoslav Pop was a form ofpolitical practice, and to what extent is it was a local adaptation of international currents and themes. This thesis is associated with Tate’s multiannual research into ‘global pop’, which culminated in the exhibition ‘The World Goes Pop’ (September 2015 – January 2016, Tate Modern) through a Collaborative Doctoral Award (AHRC). This involved an advisory role in the exhibition research on the territory of the former Yugoslavia, identifying artists and artworks for potential inclusion in the exhibition. The methodology of the thesis was in part shaped by this context, beginning with close studies of artworks, their critical reception, and the study of their context–the sites of production and exhibition in the country at the time. Whilst both local and international literature on Yugoslav art history, global Pop Art as well as Yugoslav material culture and political context has been important, the core research involved oral histories, and visits to artists’ studios, museum collections, depots and archives in search of original artworks. The thesis draws on approximately twenty interviews with artists, curators, art historians and other art workers who were active in 1960s and 1970s, combined with the above-mentioned scholarship.
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Tomic, Milena. "Rituals and repetitions : the displacement of context in Marina Abramovic's Seven Easy Pieces." Thesis, University of British Columbia, 2008. http://hdl.handle.net/2429/2489.
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This thesis considers Seven Easy Pieces, Marina Abramović’s 2005 cycle of re-performances at the Guggenheim Museum, as part of a broader effort to recuperate the art of the 1960s and 1970s. In re-creating canonical pieces known to her solely through fragmentary documentation, Abramović helped to bring into focus how performances by Joseph Beuys, Bruce Nauman, Gina Pane, Vito Acconci, Valie Export, and herself were being re-coded by the mediating institutions. Stressing the production of difference, my analysis revolves around two of the pieces in detail.
First, the Deleuzian insight that repetition produces difference sheds light on the artist’s embellishment of her own Lips of Thomas (1975) with a series of Yugoslav partisan symbols. What follows is an examination of the enduring role of this iconography, exploring the 1970s Yugoslav context as well as the more recent phenomenon of “Balkan Art,” an exhibition trend drawing upon orientalizing discourse. While the very presence of these works in Tito’s Yugoslavia complicates the situation, I show how the transplanted vocabulary of body art may be read against the complex interweaving of official rhetoric and dissident activity. I focus on two distinct interpretations of Marxism: first, the official emphasis on discipline and the body as material producer, and second, the critique of the cult of personality as well as dissident notions about the role of practice in social transformation. It is in this sense that a distinctly spiritualist vocabulary also acquires a political dimension in drawing upon movements such as Fluxus and Neo-Dada, and underscoring the value of the immaterial and the non-productive. Finally, I explain how a reversal of Slavoj Žižek’s tripartite structure of ideology can help to articulate how a repetition of Beuys’s actions in this context actually displaces their cosmological aspect by virtue of the re-enactment setting alone.
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Iheanacho, Vitalis Akujiobi. "Nonalignment: Cuba and Yugoslavia in the Nonaligned Movement 1979-1986." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc501237/.
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This study is an attempt to clarify whether Cuba and Yugoslavia adhere to the role expectations of the nonaligned movement. Chapter I introduces the criteria for nonalignment which are also considered as the role expectations for members of the nonaligned movement. Chapter II focuses on whether Cuba and Yugoslavia do fulfill the role expectations of the nonaligned movement. Chapter III discusses the voting behavior of Cuba and Yugoslavia on issues important to the nonaligned movement in the United Nations' General Assembly. Chapter IV concludes this study with the major finding that Yugoslavia adheres strictly to the role expectations of the nonaligned movement while Cuba's nonaligned status is questionable.
Books on the topic "Art, Yugoslav"
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Dejan, Sretenović, Merenik Lidija, and Fond za otvoreno društvo (Belgrade, Serbia), eds. Art in Yugoslavia, 1992-1995. Beograd: Radio B92, 1996.
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Likovna umetnost osamnaestih i devedesetih u Beogradu: Razgovori. Beograd: Z. Božović, 1996.
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Radojko, Mrljes, and Stanojevic Tatjana, eds. Yugoslavia, monuments of art: From prehistory to the present day. New York: Hippocrene Books, 1988.
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Marjana, Lipologavšek, and Mohorovičić Andro, eds. Barok. Beograd: Jugoslavija, 1985.
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Kunst des Nationalismus: Kunst, Konflikt, (jugoslawischer) Zerfall. Berlin: Kadmos, 2007.
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Vojin, Bašičević, ed. Dimitrije Mića Bašičević Mangelos: Drugi o njemu. Novi Sad: Promatje, 1997.
Find full textBook chapters on the topic "Art, Yugoslav"
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Dragićević Šešić, Milena. "Culture of Dissent, Art of Rebellion: The Psychiatric Hospital as a Theatre Stage in the Work of Zorica Jevremović." In Theatre in the Context of the Yugoslav Wars, 177–98. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-98893-1_11.
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Pupovac, Milorad. "Between sign and act." In Yugoslav General Linguistics, 265. Amsterdam: John Benjamins Publishing Company, 1989. http://dx.doi.org/10.1075/llsee.26.16pup.
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Boeckh, Katrin. "Allies Are Forever (Until They Are No More): Yugoslavia’s Multivectoral Foreign Policy During Titoism." In The Foreign Policies of Post-Yugoslav States, 18–43. London: Palgrave Macmillan UK, 2014. http://dx.doi.org/10.1057/9781137384133_2.
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Boban, Davor, and Ivan Stanojević. "The Institutionalisation of Political Science in Post-Yugoslav States: Continuities and New Beginnings." In Opportunities and Challenges for New and Peripheral Political Science Communities, 87–118. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-79054-7_4.
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AbstractThe institutionalisation of political science in the four countries emerged after the break-up of Yugoslavia—Bosnia and Herzegovina, Croatia, Serbia, and Slovenia—has not been a uniform process. Despite the discipline’s foundation at almost the same time and in the same state, there are considerable differences among them in terms of stability and autonomy. Some of the most salient, albeit certainly not all are numbers of institutions, professors, students and study programs, development of political science fields, state funding, and hiring procedure. Our investigation on the roots of differences between them covers two periods. The first one deals with the Communist Yugoslav period, when the first institutions of political science were founded, and the discipline went through three decades of development under autocratic regime. Second period deals with the following three decades of institutionalisation, from first multi-party elections in 1990 until 2020. We finish the chapter with concluding remarks which could also be perceived as a guideline for further research in the field.
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Széll, György. "Workers’ Participation in Yugoslavia." In The Palgrave Handbook of Workers’ Participation at Plant Level, 167–86. New York: Palgrave Macmillan US, 2019. http://dx.doi.org/10.1057/978-1-137-48192-4_9.
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Lóránd, Zsófia. "Feminist Dissent in Literature and Art: Sisterhood, Motherhood and the Body." In The Feminist Challenge to the Socialist State in Yugoslavia, 85–135. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-78223-2_3.
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Kirn, Gal. "Multiple Temporalities of the Partisan Struggle." In Cultural Inquiry, 163–90. Vienna: Turia + Kant, 2014. http://dx.doi.org/10.37050/ci-08_08.
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The article departs from the diagnosis of post-Yugoslav contemporary accounts of Yugoslav and partisan events. The critique of nationalist and Yugonostalgic discourses discloses shared assumptions that are based on the ‘romantic’ temporality of Nation and on history as a closed process. In the main part of the article the author works on the special, multiple temporality of partisan poetry that emerged during the WWII partisan struggle. The special temporality hinges on the productive and tensed relationship between the ‘not yet existing’ — the position of the new society free of foreign occupation, but also in a radically transformed society — and the contemporary struggle within war, which is also marked by the fear that the rupture of the struggle might not be remembered rightly, if at all. The memory of the present struggle remains to be the task to be realized not only for poets, but for everyone participating in the struggle. This is where the revolutionary temporality of the unfinished process comes to its fore, relating poetry to struggle, but again producing a form of poetry in the struggle.
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Heidenheimer, Arnold J. "Germany, Maastricht and Yugoslavia: Altered Identities and Abiding Demarcations." In The Federal Republic of Germany at Forty-Five, 44–59. London: Palgrave Macmillan UK, 1995. http://dx.doi.org/10.1007/978-1-349-13518-9_3.
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Simić, Olivera. "Memorial Culture in the Former Yugoslavia: Mothers of Srebrenica and the Destruction of Artefacts by the ICTY." In The Arts of Transitional Justice, 155–72. New York, NY: Springer New York, 2013. http://dx.doi.org/10.1007/978-1-4614-8385-4_9.
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Winland, Daphne. "Diaspora Policies, Consular Services and Social Protection for Croatian Citizens Abroad." In IMISCOE Research Series, 91–106. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-51245-3_5.
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Abstract This chapter examines the Croatian Government’s policies for Croats abroad with a focus on social protection. The history of Croatian diaspora-homeland engagement over a century culminating in the establishment of the independent state of Croatia in 1991, informs the prioritization of Croats abroad in the social policy landscape. In addition to outlining the diaspora and consular infrastructures, culture and education policies, the protection of Croats abroad in the areas of health, employment, pensions and family-related benefits is reviewed. The findings of this analysis reveal that while the Croatian government continues to profess its commitment to providing a comprehensive program of social protection for Croats abroad, policies guaranteeing substantive social protection are mainly found in those (primarily post-Yugoslav) states where Croatia has negotiated bilateral agreements for Croats identified as a minority. The provision of protection for Croats abroad in general therefore falls somewhat short in so far as a robust, concrete set of measures are concerned.
Conference papers on the topic "Art, Yugoslav"
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Atlagic, Branislav S., Vladimir V. Kovacevic, Vladimir S. Maruna, Velibor M. Mihic, and Branislav D. Adjanski. "Upgraded SCADA for Yugoslav Main Gas Pipeline." In 1996 1st International Pipeline Conference. American Society of Mechanical Engineers, 1996. http://dx.doi.org/10.1115/ipc1996-1913.
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This paper presents the configuration of a SCADA based telemetry system for the main Yugoslav gas-pipeline network. A central supervising SCADA station is realized by using reliable industrial PC stations interconnected via a LAN. The key features of this SCADA are open architecture, hot stand-by, an effective MMI subsystem and an information link to the Enterprise Information System. In order to achieve better supervision and control over the gas-transport process, basic SCADA functions are supplemented with a decision support system based on trend analysis and a steady-state simulation model.
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Stojiljković, Danica. "The Concept of Synthesis in Yugoslav Socialist Society – Synthurbanism of Vjenceslav Richter." In SPACE International Conferences April 2021. SPACE Studies Publications, 2022. http://dx.doi.org/10.51596/cbp2021.gkjs9365.
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Abstract The avant-garde inclinations in the socio-political and cultural milieu of Yugoslav socialism postulated the concept of synthesis as the central theme in architecture and visual arts. This was facilitated by the critique of functionalist and formal concepts and by promoting ideas of organic systems that balance natural and built environments and are unsustainable outside the context of integrity. Vjenceslav Richter was probably the most persistent in developing the concept of synthesis among Yugoslav architects, proposing a global, holistic and systematic approach. In the early 1960s, Richter used experimental models to explore spatial-plastic relations, which led to the development of the concept that provided synthetic solutions for urban functions – synthurbanism. Richter’s theory of the organisation of living synthesis was rooted in the key concepts of socialist society – harmonious relations between individuals and the collective and human as an integrated biological and social being. The premise of this study is that the original ideological agenda of Yugoslav Socialism based on the values of Marxist humanism provided a comprehensive social and philosophical context for the concept of synthesis.This study aims to describe a broader context of synthetic thought in Yugoslav society through the architectural and urbanistic ideas of Vjenceslav Richter. His utopian model is based on the premise that the environment represents a system of intertwined functions and that living space and humans are integrated into interactive processes, which show functional correlativeness in achieving sustainable urban living. Keywords: synthesis, synthurbanism, Vjenceslav Richter, Marxism, self-management socialism
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Meškova, Sandra. "THE SENSE OF EXILE IN CONTEMPORARY EAST CENTRAL EUROPEAN WOMEN’S LIFE WRITING: DUBRAVKA UGREŠIČ AND MARGITA GŪTMANE." In NORDSCI International Conference. SAIMA Consult Ltd, 2020. http://dx.doi.org/10.32008/nordsci2020/b1/v3/22.
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Exile is one of the central motifs of the 20th century European culture and literature; it is closely related to the historical events throughout this century and especially those related to World War II. In the culture of East Central Europe, the phenomenon of exile has been greatly determined by the context of socialism and post-socialist transformations that caused several waves of emigration from this part of Europe to the West or other parts of the world. It is interesting to compare cultures of East Central Europe, the historical situations of which both during World War II and after the collapse of socialism were different, e.g. Latvian and ex-Yugoslavian ones. In Latvia, exile is basically related to the emigration of a great part of the population in the 1940s and the issue of their possible return to the renewed Republic of Latvia in the early 1990s, whereas the countries of the former Yugoslavia experienced a new wave of emigration as a result of the Balkan War in the 1990s. Exile has been regarded by a great number of the 20th century philosophers, theorists, and scholars of diverse branches of studies. An important aspect of this complex phenomenon has been studied by psychoanalytical theorists. According to the French poststructuralist feminist theorist Julia Kristeva, the state of exile as a socio-cultural phenomenon reflects the inner schisms of subjectivity, particularly those of a feminine subject. Hence, exile/stranger/foreigner is an essential model of the contemporary subject and exile turns from a particular geographical and political phenomenon into a major symbol of modern European culture. The present article regards the sense of exile as a part of the narrator’s subjective world experience in the works by the Yugoslav writer Dubravka Ugrešič (“The Museum of Unconditional Surrender”, in Croatian and English, 1996) and Latvian émigré author Margita Gūtmane (“Letters to Mother”, in Latvian, 1998). Both authors relate the sense of exile to identity problems, personal and culture memory as well as loss. The article focuses on the issues of loss and memory as essential elements of the narrative of exile revealed by the metaphors of photograph and museum. Notwithstanding the differences of their historical situations, exile as the subjective experience reveals similar features in both authors’ works. However, different artistic means are used in both authors’ texts to depict it. Hence, Dubravka Ugrešič uses irony, whereas Margita Gūtmane provides a melancholic narrative of confession; both authors use photographs to depict various aspects of memory dynamic, but Gūtmane primarily deals with private memory, while Ugrešič regards also issues of cultural memory. The sense of exile in both authors’ works appears to mark specific aspects of feminine subjectivity.
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Ivković, Nikola. "POLITIČKI KOMPLEKS VIDOVDANSKOG USTAVA." In 100 GODINA OD VIDOVDANSKOG USTAVA. Faculty of law, University of Kragujevac, 2021. http://dx.doi.org/10.46793/zbvu21.367i.
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The paper analyzes the political context of the constitution of a common state of Serbs, Croats and Slovenes. The search for and recording of the reasons for the adoption of certain legal solutions begins with the consideration of political circumstances at the domestic and international political level. Further, through the analysis of political circumstances and sociological environment, the character of the legal acts that preceded the constitutive, Corfu and Geneva declarations and finally the December unification acts is observed. After the objectification of the act of unification, the central topic of research is the procedure of enactment and political elements of the Vidovdan Constitution. The research is also part of an attempt to establish the facts and demystify the issues that have burdened the former Yugoslav states for decades. Was the common state a mistake or the result of rational decisions in the dynamics of Europe at that time. Formally - legally and politically, all countries of the former community are either in the European Union or on the path to membership, with a strong state desire to be part of the same community, and on that basis, the historical-political context is observed.
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Mitić, Nebojša R., and Slaviša M. Đorđević. "(AB)USE OF GOLDEN PARACHUTES IN STATE-OWNED COMPANIES IN THE FORMER YUGOSLAVIA." In Sixth International Scientific-Business Conference LIMEN Leadership, Innovation, Management and Economics: Integrated Politics of Research. Association of Economists and Managers of the Balkans, Belgrade, Serbia, 2020. http://dx.doi.org/10.31410/limen.2020.271.
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Golden parachutes represent one of the preventive defence antitakeover measures based on which contracts are concluded with the engagement of team of managers of the target company, promising them the payment of profitable compensation in case of occurrence of transactions related to takeover of control (purchase of a certain percentage of shares or direct offer to shareholders for a certain percentage of company shares). Contract rights called the golden parachutes are activated by the creation of one or more alternative events, or "triggers." (Un)intentional incorrect application of the golden parachutes may have not only significant negative consequences on the future performance of companies, but it can also deter potential investors from the decision to invest their capital in companies that have entered into such agreements with the engaged team of managers. Numerous cases of incorrect application of the golden parachutes can be found in the former socialist countries, as well as in the countries that emerged from the dissolution of Yugoslavia.
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Özgün, Tevfik Orçun, and Onur Koçak. "Turkey-Macedonia Relations from Cultural and Historical Perspective." In International Conference on Eurasian Economies. Eurasian Economists Association, 2014. http://dx.doi.org/10.36880/c05.00975.
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Balkans can be defined as a region which had been under different cultures’ and civilizations’ reign, and experienced different nations, religions and cultures. It is likely possible to see the effects of these multicultural and multinational structure on international politics and economy. In that sense, Macedonia is inevitably placed in an important point for Balkan and Ottoman history, and even for international politics. It is very possible to see Turkish influence on Macedonia, which -ruled by Ottoman for 542 years- has gained its independence, as a result of disintegration of Yugoslavia in 1991.When we take a look at condensing political and economic relations between Macedonia and Turkey, the effect of shared cultural and historical heritage on regional and wide economic development and cooperation can be seen with no huge effort. From that point of view, Ottoman Empire’s historical, sociological and cultural effect on sustainable and improvable economic relations are a topic of discussion. If we focus on the changing balance in Europe, resulted by disintegration of Yugoslavia, and developing approaches towards Macedonia, Turkey’s relations with Greece and other regional countries become very important, which are still being operated in terms of development and sustaining. In this study, Turkey’s attitude in recognition of Macedonia, and structure of Turkic population in Macedonia will be inspected and from Macedonia perspective, international politics and economic cooperation will be examined with historical, political and cultural emphasis.
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Красовец, А. Н. "Вопросы транскультурности в романе Горана Войновича «Джорджич возвращается» (2021)." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.43.
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The novel by Slovenian writer Goran Voinovi ć (1980) “ Đorđić Returns” (2021) is a sequel to the author’s debut novel “Southern Scum Go Home!” (2008), which turned to the life of first and second generation immigrants from the southern republics of the former Yugoslavia in Slovenia, and became a cult book. The author refers to the same characters and their evolution over the past ten years, a special place in the text is given to Bosnia and the life of the main protagonist there. The clash and overlap of different cultural spaces leads to complex forms of transculturalism, which are re flected in the work in the form of various forms of linguistic hybridity, bifurcated, nomadic identity of characters, actualization of the problem of migration as such.
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Bartulović, Željko. "IZBORI ZA USTAVOTVORNU SKUPŠTINU U MODRUŠKO-RIJEČKOJ ŽUPANIJI 1920. GODINE." In 100 GODINA OD VIDOVDANSKOG USTAVA. Faculty of law, University of Kragujevac, 2021. http://dx.doi.org/10.46793/zbvu21.207b.
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The elections for the Constituent Assembly of the Kingdom of Serbs, Croats and Slovenes in 1920 may show the political orientation of the voters and the acceptance of the party programs that the parties advocated during the pre-election period and in the work of the assembly. The elections were held in a part of the Modruš-Rijeka district that was not under Italian occupation, which significantly affected the results. Within the constituency, three areas are distinguished. Kordun with a predominantly Serb population votes for unitarian-centralist parties (“Pribićevićs“ and Radicals), and Croats for Croatian and federalist parties (Croatian Republican Peasant Party - CRPP and Party of Rights). It is similar in Gorki Kotar with the Croatian majority. In Primorje, there is a dispersion of votes between the Unitarians and the CRPP, with a smaller share going to the Radicals, the Croatian Popular Party (“clericals“) and the Communists. In the constituency, the Democrats won with 31.65% of the vote, the CRPP won 24.90%, communists 15.81%, and the rightists 12.53%. Three members of the Democrats, three members of the CRPP, one communist and one member of Party of Rights were elected. The Democrats brought together Yugoslav politicians, but not an integral one denied by the “tribes“, but pre-war coastal right-wingers who, in fear of Italian irredentism, wanted a strong state. The CRPP has not been successful in the Littoral, which, under pressure from the regime, can be attributed to a state program that does not suit coastal Croats. Those in the party's struggle against centralism and unitarism in the CRPP see the specter of separatism, which goes against the state as a shield against irredentism.
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Robinson Beachboard, Martine, and John C. Beachboard. "Implications of Foreign Ownership on Journalistic Quality in a Post-Communist Society: The Case of Finance." In InSITE 2006: Informing Science + IT Education Conference. Informing Science Institute, 2006. http://dx.doi.org/10.28945/3029.
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When freedom from Communism largely eliminated overt government censorship of newspapers, other political and business pressures appeared. Consequently, Southeastern European newspaper publishers faced threats to financial viability and editorial integrity. The editor-in-chief of one newspaper in the former Yugoslavian republic of Slovenia claims to have found freedom from political and advertiser influence after a global media conglomerate invested in the publication. Notably, the business daily Finance is the only hard-news start-up to survive in the eleven years since Slovenia gained independence from the Republic of Yugoslavia. This research paper offers a provocative example where international investment appears to have contributed to the democratizing of media in a post-communist society. The paper is not intended to argue that foreign media investments are necessarily beneficial but to suggest some circumstances in which foreign media investment can be advantageous to the democratic aspirations of a society.
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Marković, Velisav. "NEZAKONITO ODREĐIVANjE CENA KOMUNALNIH USLUGA ZA PRIVREDNE SUBJEKTE." In 14 Majsko savetovanje. University of Kragujevac, Faculty of Law, 2018. http://dx.doi.org/10.46793/xivmajsko.407m.
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Provision of utility services is of vital importance for the fulfillment of the needs of the natural and legal persons. In the business activities of commercial entities, the problem of the difference in the price of utility services for commercial entities in relation to citizens is emphasized, because commercial entities are unjustifiably paying a higher price. The basic legal principle of determining the price of utility services is not respected: there is no price difference between different categories of consumers unless the difference is based on different costs of providing utility services. In his work, the author presents the upward water supply prices for citizens and the commercial entities in 17 cities of Serbia, as well as in the larger cities of former Yugoslavia and Western Europe, and emphasizes the necessity to take urgent measures in order to harmonize the prices in order to protect commercial entities against further discrimination.
Reports on the topic "Art, Yugoslav"
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Zajac, Daniel L. The German Invasion of Yugoslavia: Insights for Crisis Action Planning and Operational Art in a Combined Environment. Fort Belvoir, VA: Defense Technical Information Center, April 1993. http://dx.doi.org/10.21236/ada274043.
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Kelly, Luke. Evidence on Measures to Address Security in Camp Settings. Institute of Development Studies, March 2021. http://dx.doi.org/10.19088/k4d.2021.052.
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This rapid literature review finds that authorities use a range of methods to reduce insecurity in camps. Security in camps can be addressed through better planning of services by camp management, by more involvement of refugees, and through the use of outside security support. However, the militarisation of camps is a broader problem that requires political support from a number of stakeholders. The review focuses on insecurity arising from conflict (militarisation) and from crime and disputes within and around camps. It starts from the position that camps for refugees or internally displaced persons (IDPs) should be ‘civilian and humanitarian in character’, and thus, they should not host active combatants or fighters or support conflict. The rights of camp residents - e.g. non-refoulment of refugees - should be respected. In the case of insecurity arising from crime and disputes within and around camps, security measures should be proportionate and consider refugee protection. This review surveys evaluations and academic papers on camp security management. There is a significant body of evidence on the problem of camp militarisation in settings including Zaire/DRC, Thailand, Lebanon and the former Yugoslavia. However, the review has found relatively little evidence on successful efforts to counter militarisation in cases of conflict. It has found case studies and evaluations of a number of programmes to improve lower-level camp security, or in cases where conflict has abated. There are several reviews of UNHCR ’security packages’ involving support to host state police in African countries. These lessons are focused on how to engage with refugee and host populations, as well as host states, and how to manage security services. Guidance on camp management is also surveyed. There is very little evidence discussing liaison arrangements beyond stating the need to provide protection training and oversight for security forces; and the need for principled engagement with states and non-state conflict parties.
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Arifi, Besa. Education in Preventing & Countering Violent Extremism: Considerations for the Western Balkans. RESOLVE Network, September 2022. http://dx.doi.org/10.37805/pn2022.1.wb.
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Violent extremism in the Western Balkans takes many forms, from Western Balkans foreign fighters recruited to participate in conflicts abroad, including in the Middle East and Ukraine; to ethno-nationalist organizations that spread inter-ethnic hatred, some emanating from and glorifying legacies of conflict spanning back to the breakup of the former Yugoslavia and regional conflicts in the 1990s; to chauvinism and anti-EU and anti-NATO ideas that emerge to become even more serious and with greater consequences for the region and socio-political cohesion and dynamics. As violent extremism continues to evolve and adapt in the Western Balkan countries, efforts to address it must also adjust to new threats from both internal and external sources. Recent research on violent extremism in the Western Balkans, and North Macedonia specifically, suggests that education may be an important tool in addressing violent extremism in the region. Some have suggested educational initiatives may assist in addressing online and offline disinformation and extremist narratives. Furthermore, addressing ongoing issues within ethnically divided educational systems may play an important role in working to address some of the ethnic-based divisions that can contribute to ”othering” dynamics. Others have further suggested that education and other support services can play a role in aiding the transition of those imprisoned on charges related to violent extremism and returning families back into society. As countries throughout the Western Balkans continue to update and revise their national action plans and policies to address violent extremism, greater consideration of the role of education and how it might be integrated into these policies is needed. This publication, based on findings from a large-scale literature review mapping the state of research on education in P/CVE in the Western Balkans and beyond,offers a series of considerations for policymakers and practitioners looking to incorporate education in future efforts to address drivers, both real and potential, of violent extremism in Western Balkan states. While findings from this paper are contextualized within the broader experiences of the Western Balkans, specific examples based on experiences in individual countries, North Macedonia most notably, are detailed to provide an in-depth example of considerations for policymakers interested in further incorporating education into P/CVE plans moving forward.