Journal articles on the topic 'Croatia, biography'

The paper attempts to shed light on the biography of Vladimir Vinek, a popular Zagreb football player during the early 1920s and one of the first real football stars in Croatia. It also attempts to explain his professional and private life, deeply connected with the contemporary social upheavals marked by repressive regimes of the Kingdom of Yugoslavia, and later of the Independent State of Croatia. After considerable success with football Vinek became completely dedicated to his police career, first serving to the regime of Yugoslav king Alexander Karađorđević and later on to the Ustasha regime of Ante Pavelić, which would ultimate lead to his demise.

Building upon the research by Meyer et al. (2007), this study employs risk biographies to evaluate how three ex-Yugoslav pension systems cope with the social exclusion of the elderly. The article simulates pension entitlements in Slovenia, Croatia and Serbia and comes to two broad conclusions. First, the three pension systems that originated from a common legislative base, albeit in countries with marked differences in economic development, now diverge in almost every aspect. Hence, further research should analyse the entire retirement microcosm of the former Yugoslavia and delve deeper into the mechanisms of pension system evolution. Second, the study expounds the pros and cons of the three schemes and argues that none can avoid further reforms. Slovenian public pensions are excessively generous and consequently require fiscal cuts, the Croatian funded tier is too small to complement lower public benefits, and the Serbian arrangements should be a temporary sacrifice to cope with fiscal austerity. The paper complements a traditional overview of the three systems by analysing the problems of each risk biography. It concludes by giving a number of prescriptive recommendations for the future well-being of the elderly in the region.

<p>The purpose of this paper is to shed light on the biographical, professional, and health-educational works of Dr. Isak Samakovlija, who was better known as a writer than a doctor in the country where he was born. He was born in 1889 in Goražde, the easternmost province in the Austrian-Hungarian monarchy, into a modest Jewish merchant family. He attended high school in Sarajevo and completed his studies in medicine in Vienna in 1917. During the First World War, he served twice in the Austro-Hungarian army. After the end of the First World War in 1918, he completed a medical internship at the National Hospital in Sarajevo. He began his service as a doctor, first in Goražde and then in Fojnica and Sarajevo. After the establishment of the Independent State of Croatia in May 1941, he was dismissed from his duties in the service without the right to pension or support, and without the right to appeal. In the Independent State of Croatia, he was twice mobilized into the Home Guard and was manager of the clinic in the Alipašin Most refugee camp. After World War II, he was the head of the Health Education Department of the Ministry of Public Health of the People’s Republic of Bosnia and Herzegovina in Sarajevo. Together with a group of enthusiastic doctors, he founded and edited the first Bosnian medical journal Život i Zdravlje (Life and Health). In that journal, Dr. Samokovlija published 29 articles of health and educational content. In 1949, Dr. Samokovlija left the Ministry of Public Health and continued to edit the literature and art journal Brazda, but he still had a private practice until the end of his life. He died in Sarajevo on January 15, 1955. He was buried with the highest state honors at the Jewish cemetery in Sarajevo.</p><p><strong>Conclusion</strong>. Isak Samakovlija (1889-1955) was one of the first medical doctors born in Bosnia and Herzegovina. He made a significant contribution to the improvement of people’s health after the First and Second World Wars in the places where he worked. His special contribution are his articles on health education.</p>

Aim: To develop a methodology for the estimation of the preservation of human skeletal remains – the relics in the Vodnjan assembly; to estimate the minimum number of individuals (MNI), sex, and age; to evaluate the physical state of their remains, and to individualize the remains to verify the list of saints allegedly buried at the monastery. Methods: Standard crime scene investigation and forensic anthropology methods were used, including trace evidence marking, photography, minimum number of individuals (MNI) estimation, sex, age, stature estimation, pathological and traumatic changes examination, individuation, and individualization by the comparison to the biography. Results: The total sample of the bones in the Vodnjan relic collection was very poorly preserved. The MNI in the sarcophagus was twenty-two. Of those, three were female, twelve were male, and seven were subadults. Conclusion: The forensic approach to the documentation and analysis of relics was appropriate for this kind of skeletal material. The final identification was not possible because of the poor preservation of skeletal material and the lack of hagiographical (antemortem) data. However, the forensic anthropology approach enabled us to create osteobiographies, and after the comparison with the existing antemortem data, we could not exclude that the remains belonged to the named saints.

Abstract Đorđe Đorđević, a Serb from Croatia, was born in Grubišno polje (Croatia) on April 22, 1885. He studied medicine in Vienna and graduated in 1909. Till 1912, he advanced his knowledge working at dermatology clinics with Prof. Finger and Prof. Arning, as well as with Prof. Weichselbaum, professor of pathological anatomy and bacteriology. From 1912 he worked in Zagreb, at the Dermatology Department of the Brothers of Mercy Hospital, and during World War I as a military doctor at the Dermatology Department and the Zagreb Outpatient Department (Second kolodvor). After the war, in 1918, he moved to Belgrade, where he was the Head of the Polyclinic for Skin and Venereal Diseases, and in 1922 he became an Assistant Professor of Dermatology at the School of Medicine in Belgrade. In the same year, he founded the Department of Dermatovenereology at the School of Medicine in Belgrade and the Clinic for Skin and Venereal Diseases, of which he was also the Head. In 1923, he became an Associate Professor, and in 1934 a Full Professor. He is given credit for passing legislation on prostitution and banning brothels. The professional work of Prof. Đorđe Đorđević encompasses all areas of dermatology, including his special interest in experimental studies in the field of venereology. He organized medical-research trips to study people’s health status, and his teams visited the South Serbia (today Macedonia), Sandžak and Montenegro. In 1927, he founded the Dermatovenereology Section of the Serbian Medical Society (19) and the Association of Dermatovenereologists of Yugoslavia. He was the chairman of the I, II and III Yugoslav Congress of Dermatology in Belgrade, and of the II Congress of the Pan-Slavic Association of Dermatovenereologists with international participation. He was an honorary member of the Bulgarian, Czechoslovakian, Polish and Danish Dermatological Societies, as well as a regular member of the Association of French Speaking Dermatologists, and of French, German and Biology Society. He was the Vice dean of the School of Medicine. He died suddenly on April 27, 1935, shortly after his 50th birthday, and was mourned by colleagues, friends and students. On the first anniversary of his death, his family, friends and colleagues established a ”Foundation of Dr. Đorđe-Đurica Đorđević” meant for ”doctors and health workers”. Unfortunately, the foundation was disestablished in the early eighties of the 20th century.

Background: The 500th Anniversary of the Reformation has caused the emergence of many new publications in Ukraine dedicated to this phenomenon. Biographical research were taken quite modest positions among them. The focus was on the figures of the Western European Reformation, whose biographies are widely represented in world historiography. However, many Slavonic reformers still undervalued. In particular, a little known in Ukrainian studies remains a Croatian humanist of the 16th century Matija Vlačić (Matthias Flacius Illyricus). Purpose: The author put forward the task to acquaint the Ukrainian reader with the biography and creativity of the Croatian thinker, as well as to reveal his role in church processes, the development of theological and scientific knowledge in Early Modern Europe. To achieve this, the article is divided into several thematic blocks. The first covers the main pages of life and activity of Matija Vlačić as a Lutheran theologian, polemicist, enlightener, and scholar, the second – summarizes the early and modern studies devoted to Vlačić. The following two thematic blocks relate to his scholarly heritage in the fields of Biblical exegesis and hermeneutics (based on his “Clavis Scripturae”), сhurch history, and critical study of sources (based on “Catalogus testium Veritatis” and role of Vlačić in the creation of “Ecclesiastica Historia” – “Magdeburg Centuries”). Results: The author pays tribute to the scientific achievements of many scholars who have done important work in the study of personality of Matija, and supports the opinion expressed in contemporary historiography of his role in protection of Martin Luther’s reform. The article confirms significant of Vlačić contribution to the development of new principles of exegetics and its rise on the level of Biblical studies, and to the laying down the foundations of scientific hermeneutics and textology. The author traced use by Matija Vlačić his methods of exegetics in the study of historical documents and the comprehension of church history. An attempt at such use is his historical work “Catalogus testium Veritatis”, which can be regarded as an early experience which found a more serious incarnation in “Magdeburg Centuries”. Despite the obvious for the 16th century scientific achievements of “Catalogus” and “Centuries” polemical and ideological tendentiousness of their authors made church-historical science an element of confessional confrontation in Post-Reformation Europe. Scientific methods of Vlačić were used by Andrzej Węgierski – theologian and historian in the Polish-Lithuanian Commonwealth, the author of the chronicle “Slavonic Reformation”, which became factual material for the historical works of many scholars of Eastern Europe. Key words: Reformation, Croatia, Matija Vlačić (Matthias Flacius Illyricus), exegetics, hermeneutics, сhurch history, “Clavis Scripturae”, “Catalogustestium Veritatis”, “Magdeburg Centuries”.

The Author’s aim in this paper is to expose the hidden distortions in Marx’s understanding of the subject of history, such that occur under the influence of the patriarchal ideology. In order to do so, the author will first offer what she believes is the most satisfying explanation of the subject in Marxism, namely, the idea of subject as an emerging immanence. The Author will further claim that Marx’s attempt to overcome Hegelian teleological image of the world and to replace its transcendental subject with an immanent one, remains essentially flawed. The cause of this shortcoming the author will find in the contradiction inherent to Marx’s idea of subject. In the conclusion, the author will name feminism as the key theory for overcoming this contradiction. Author(s): Branislava Petrov Title (English): The Immanence and the Transcendence of the Emerging Subject in Marx’s Philosophy of History 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: 94-98 Page Count: 5 Citation (English): Branislava Petrov, “The Immanence and the Transcendence of the Emerging Subject in Marx’s Philosophy of History,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 94-98. Author Biography Branislava Petrov, Philosopher and Feminist Author Branislava Petrov is a philosopher and a feminist author based in Novi Sad, Serbia. She presented her work at various conferences all over Europe, some of them being: Workshop “Helene Druskowitz and Friedrich Nietzsche, 2018,” organised by Institute of Philosophy, Zagreb, Croatia; Historical Materialism Conference Athens 2019, Athens, Greece; Feminist Futures Festival 2019, Germany, Essen; Internatiolal Scientific Conference of Medical University of Kharkov, Ukraine, 2019 and 2020., etc. Her work under the title: “Ideology and Social Structures Behind the Problem of Domestic Violence” has been published in 2019 edition of the last mentioned conference. Her work under the title: “The Difference Between Marxist Radical Feminist and Liberal Feminist Approach to the Problem of Transgender Ideology” has been published in 2020 edition of the same. She organizes online reading groups focusing on the works of Second Wave feminism. She is critical of modern day liberal, as well as so called radical feminism. She is currently working on a piece titled “Feminism and Identities,” which will be presented at the online conference “Women Philosophers in South-Eastern Europe—Past, Present and Future,” organized by Institute of Philosophy, Zagreb, Croatia. She works as a freelance writer and translator. She speaks English and Greek languages.

A FEW CONSIDERATIONS, DILEMMAS AND RECTIFICATIONS ABOUT THE BIOGRAPHY OF FIELD MARSHALL BOROEVIĆThe article alters or amends the previous realisations about the life of Field Marshall Svetozar Boroević von Bojna. At the same time it also attempts to provide answers to certain dilemmas arising from his biography. It discusses the questions and dilemmas like: was he a hero or bon vivant? Was he Croatian or Serbian, born in Mečenčani or Umetić? When was he ennobled, in 1902 or 1905? Was he a baron at all? It also clarifies which decorations of the Order of Maria Theresa he received and when.

Članak se bavi zagonetnom zagrebačkom fazom iz biografije Irine Aleksander-Kunjine, njezinom ulogom u hrvatskoj književnosti razdoblja međuraća i odnosima s protagonistima tadašnjega hrvatskoga književnoga života. Donijet će se pregled njezinih književnih suradnji u hrvatskim književnim časopisima. Osim pokušaja određenja njezine uloge u međuratnom književnom životu, cilj je članka osvijetliti njezino pisanje na hrvatskome i donijeti osvrt na recepciju njezina položaja i djela u hrvatskoj književnoj sredini. Iako jest imala odjeka u književnoj javnosti, više je pozornosti dobivala njezina građanska osoba nego književni rad. Cilj je članka iznijeti stajalište o njezinu mjestu u hrvatskoj književnoj povijesti prve polovice XX. stoljeća i možebitnu važnost za povijest hrvatsko-slavenskih književnih veza. Ključne riječi: Irina Aleksander-Kunjina; hrvatska književnost; ruska književnost; međuratni modernizam; hrvatsko-slavenske književne veze; zaboravljena književnopovijesna baština. A Forgotten Literary History Riddle: the Croatian Literary Episode of Irina Aleksander-Kunjina This paper presents the most important information about the mysterious Zagreb phase of Irina Aleksander-Kunjina’s biography, her role in Croatian interwar literature, and her relations with vital figures of the Croatian literary scene of that time. An overview of her literary contributions in Croatian literary journals will also be presented. Apart from the evaluation of her role in the interwar literary scene, the aim of this paper is to shed light on her writing in Croatian and the reception of her activity and works in Croatian literary milieu. Although she did receive attention among the literary public, this was more due to her public persona than her literary work. Furthermore, this paper aims to offer an summary of her position in Croatian literary history in the first half of the 20th century and her importance in the history of Croatian-Slavic literary relations.

The paper encloses five letters from the editor of the ?Dubrovnik? newspaper, Antun Fabris, to his friend and associate Rista Odavic. The letters cover the period from 1895 to 1897. They contribute to a more precise reconstruction of their author?s biography, supplementing previous knowledge about the history of Serbian periodicals as well as the history of Serbs in Dubrovnik and their efforts to confirm their identity in that city and prevent the already started process of drowning their Roman Catholic component in the Croatian corps. The letters are stored in the State Archives of Serbia in Belgrade, in the legacy of Rista Odavic.

The topic of this article is related to Rijeka at the time of the infamous Bach’s absolutism, when the Narodna Čitaonica Riečka (Croatian Popular Lecture Club of Rijeka) began to operate. Dr. Ignac (Vatroslav) Vinko Medanić (1805-1856), a prominent Rijeka attorney, landlord and shipowner, patrician councillor of Bakar and Rijeka, played an important role in its foundation. This contribution is about an unusually important citizen of Rijeka of his time, who is today unfortunately forgotten. He was an acquaintance of the Croatian orthographic reformer Josip Završnik, of the Slovak revivalist and writer Jan Kollár, of the leader of the Illyrian movement Ljudevit Gaj, the Ban and Governor of Rijeka Josip Jelačić Bužimski, of the Croatian polyhistor and writer Ivan Kukuljević Sakcinski and other distinguished persons of his time. He was the first vice-president of the Narodna Čitaonica Riečka and the chief government commissioner for the founding of the Chamber of Commerce in Rijeka. In this paper we focus on the most important biographic details of his career and the main characteristics of his activist work, especially of his work in the domain of public education and culture.

Background: On the one hand, the literary works of A.G. Matoš were studied by Croatian scholars in the context of the philosophy and poetics of modernism. The authors of fundamental studies about A.G. Matoš are Dubravko Jelčić, Dubravka Oraić Tolić, Mladen Dorkin, Zlatko Posavac, Miljenko Majetić and Nada Iveljić. On the other hand, Ukrainian researchers Mykola Ilnytskyi, Solomiya Pavlychko, Oksana Melnyk, and Polish researcher Agnieszka Matusiak analyzed and studied M. Yatskiv's creative style in the context of the aesthetic canons of the modernism. The novelty of this article is in addressing the influence of E. Poe on the literary texts of the Ukrainian and Croatian modernists using the comparative approach. Purpose: This is the first attempt to analyze the influence of E. Poe on A. G. Matoš and M. Yatskiv. This article treats the actual and yet not studied question of a multilayer impact (composition, imagery set) of the American writer on the Croatian and Ukrainian modernist writers. Results: Romanticism writer Edgar Poe undoubtedly influenced Mykhailo Yatskiv and Antun Gustav Matoš, especially with his essay “The Philosophy of Composition”. In this essay the author demonstrates the principle of constructing the plot with the logic and the hidden mechanisms of imagery construction. But in the biography of the American writer we can find facts that poems such as “Nevermore”, “Ligeia” and others weren`t the result of logic, but they were yearning for his wife who passed away being very young. The author of this study found a numerous allusions on the essay “The Philosophy of Composition” by E. Poe, his images of a horror crow and a cat, as well as the images of dead beloved beautyis in many literary works of A.G. Matoš and M. Yatskiv. Croatian and Ukrainian symbolists also used E. Poe`s technique of the total effect. Mystery element is generalized in the literary texts of three authors in the images of the sphinx, which has several meanings. The most common meaning is the abstract definition of something mysterious that needs to be answered. Similarities between Matoš's and Yatskiv's imagery with American writer E. Poe prove, that Ukrainian and Croatian writers were inspired by the world art achievements, creatively transforming ideas that were contemporary both to the romanticism and modernism. Key words: Edgar Allan Poe, Antun Gustav Matoš, Mykhailo Yatskiv, modernism, romanticism, “The Philosophy of Composition”, art scenography.

Erlangen Manuscript of the old Serbo-Croatian folk poems is the most comprehensive and the most important collection of our decasyllable epic poems before the appearance of Vuk Karadzic. It was edited by Gerhard Gesemann in 1925 who also wrote an extensive introduction to the manuscript. This paper focuses on the circumstances under which the manuscript was created and the circumstances that brought the manuscript to the University Library in Erlangen. It has been established that it was created in the period when only one person existed who had a capacity thanks his rank to organize extensive work on recording and/or copying 217 poems that the manuscript contains. That person was General Maximilian von Petrasch who was the commander of the fortress Brod (1708-1723). The arguments that support this conclusion can be found primarily in von Petrasch?s biography (he understood ?Slavonic language?, he was well liked by the grenzen, the soldiers on the Military Frontier), but also in some of the poems - firstly, in the one in which his name is mentioned, and secondly, in those poems that celebrate the battles in which Maximilian von Petrasch participated. The Erlangen Manuscript was inherited by Joseph Petrasch, the philologist and the owner of the vast library who signed his collection of poems with the pseudonym Slavonier. After his death, the library, together with the Erlangen Manuscript, first became the property of The Learned Society in Altdorf and then came into the possession of the University Library in Erlangen. The reconstruction of the journey of the Erlangen Manuscript leads to the conclusion that the famous manuscript was created in the region of Slavonski Brod sometime between 1708 and 1723.

Based on the new archival documents and literature in English, the paper presents the biography of Mikhail Sergeevich Smirnov, representative of the Russian diaspora in Yugoslavia and researcher of a new branch of international law, which began to develop in 1957 with the launch of the fi rst artifi cial Earth satellite. He was a secondgeneration Russian refugee, who was forced to leave his homeland as a little boy. He settled in the Kingdom of Serbs, Croats, and Slovenes / Kingdom of Yugoslavia alongside his family. He graduated from Law School in the state capital, Belgrade, then from Paris Law School, where he obtained his doctorate, and then from Paris Law School’s Institute for Higher International Sciences. After the launch of the fi rst satellite in 1957, Mikhail Smirnov, an aviation law expert, started paying more attention to the new aspects of aviation law associated with space exploration: he spoke at a number of international meetings of specialists in this fi eld of law. His works were published in domestic and international journals and his papers were cited by many authors. The scientist became a member of the International Astronautical Academy, the International Astronautical Federation, and the first president of the International Institute of Space Law. Smirnov was even a Serbian Academy of Sciences and Arts corresponding member candidate. Nevertheless, he was almost completely forgotten in Serbia.

This essay discusses the writings by Andrea Long Chu, focusing on her understanding of desire and its role in the formation of gender and in the process of gender transition. The essay also deals with her much-disputed understanding of the relation between desire and politics, taking into account the critique formulated by Amia Srinivasan. In conclusion the essay argues that Chu’s writings, if taken with a dose of caution and supplemented with the theory of desire formulated by Jacques Lacan, can offer us insights about the importance of desire for understanding various phenomena of human experience, in which we otherwise maybe wouldn’t look for it. Author(s): Andrija Koštal Title (English): Andrea Long Chu and the Trouble with Desire 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: 70-74 Page Count: 5 Citation (English): Andrija Koštal, “Andrea Long Chu and the Trouble with Desire,” Identities: Journal for Politics, Gender and Culture, Vol. 17, No. 2-3 (Winter 2020): 70-74. Author Biography Andrija Koštal, Faculty of Humanities and Social Sciences in Zagreb Andrija Koštal is a student of comparative literature at the Faculty of Humanities and Social Sciences in Zagreb, about to graduate with a topic on the discourse of illness in a European modernist novel. His primary field of research concerns the relationship between literature and philosophy throughout the history of modernity (especially through the Twentieth century). On the part of philosophy, he is interested in the philosophy of immanence, non-philosophy/non-standard philosophy and some forms of materialism. Other areas of interest include artificial intelligence, ecology and feminism. Published a few articles in various Croatian scientific journals.

<p>This short biography focuses on the life and medical activities of Kornelija Rakić (1879–1952), a Serbian female pioneer of medicine from the then Hungarian province of Vojvodina, who acquired an MD from the University of Budapest in 1905. Rakić came from a humble background, and a Vojvodina Serbian women’s organization enabled her to become a physician and pursue her social medicine mission. After a futile attempt to open a private practice as a “woman doctor for women” in Novi Sad in 1906, she successfully applied to the Austro-Hungarian provincial government in Sarajevo for the position of an official female physician in occupied Bosnia. Rakić began her career as an Austro-Hungarian (AH) official female physician in Bihać (1908–1912) and was transferred to Banja Luka in 1912 and to Mostar in 1917–1918. Kornelija Rakić stayed in Mostar after the monarchy collapsed in 1918 and continued to work as a public health officer in the service of the Kingdom of Serbs, Croats and Slovenes, founded in 1918. Subsequently, she served as the head of the “dispensary for mothers and children” at the Public Health Centre in Mostar, founded in 1929, where she practiced until her retirement in 1949. After World War II, Rakić served as Vice President of the Red Cross Society in Mostar. She received numerous awards and medals from the Austro-Hungarian Empire, the Kingdom of Yugoslavia and the Federal People’s Republic of Yugoslavia. Kornelija Rakić died in Mostar in 1952 and was buried at the local Orthodox cemetery of Bjelušine.</p><p><strong> Conclusion</strong>. Kornelija Rakić (1879–1952) was the first Serbian female physician in Novi Sad, Vojvodina, and she was employed as an AH official female physician in Bihać (1908–1912), Banja Luka (1912–1917) and Mostar (1917–1918). After World War I, she participated in the establishment and expansion of public health institutions in Mostar and Herzegovina from 1918–1949 against the backdrop of the devastation of the two World Wars.</p>

<p>This short biography traces the life and medical activities of Rosalie Sattler, née Feuerstein (1883–19??), who was employed as an official female physician at the Austro-Hungarian (AH) provincial public health department in Sarajevo from 1914–1919. Born in 1883 into a Jewish middle-class family in Chernivtsi (then Czernowitz), Ukraine, in Bukovina, the easternmost province in Austria, Feuerstein moved to Vienna in 1904 to study medicine. After earning her MD from Vienna University in 1909, she started her career as an assistant physician at the Kaiser Franz Josef Hospital in Vienna. In spring 1912, Feuerstein moved to Sarajevo to work as an intern at the local provincial hospital (Landeskrankenhaus). In the same year, she married AH district physician Moritz Sattler (1873–1927) in Vienna. In 1914, Sattler-Feuerstein successfully applied to be an AH official female physician in Bosnia. She was an employee of the provincial public health department in Sarajevo and never functioned as an official female physician in the sense of the relevant AH service ordinance. After the collapse of the monarchy, Sattler-Feuerstein continued to be employed as an official female physician of the Kingdom of Serbs, Croats, and Slovenes. She resigned from service in 1919 and established herself as a private general practitioner in Sarajevo with her husband, who had also resigned as an official physician and started to practice privately at that point. Widowed in 1927, she left Sarajevo for an unknown destination, likely in 1938–1939, and vanished from historical records.</p><p><strong> Conclusion</strong>. Rosalie Sattler-Feuerstein (1883–19??) came to Bosnia as the eighth AH official female physician and worked as an employee of the AH provincial public health department in Sarajevo from 1914–1919, after which she practiced as a private physician in Sarajevo for more than 25 years.</p>

This scholarly article is devoted to the life and career of Alexander D. Buchin, a Russian cadet, who emigrated from Russia to Serbia and made a name for himself in the country as an inventor and engineer. While residing in Serbia A.D. Buchin carried out state tasks, monitoring water in natural water resources. He was also involved design and construction of buildings around the country. A.D. Buchin who started a family and started his own company in Serbia was in XX imprisoned by the Communist regime in Yugoslavia. The article is the first attempt to recreate Mr Buchin life in Serbia, using documents, memories of his descendants and newspaper materials. The goal is to describe a prominent representative of the Russian emigration in the Kingdom of Serbs, Croats and Slovenes / Yugoslavia in the 1920s–1940s. Methods. This article presents previously unknown facts of the biography of a Russian emigre, who in 1932 became a subject of the Yugoslav king and managed to build a suc-cessful career in Serbia. The article is using various research methodologies. The com-parative historical research is used to study the life and fate of a Russian émigré during the Civil War in Russia. The narrative method is used to study the position of the Russian emigration in Serbia against the background of political changes in this country and in the world during the review period. The information method allows to create series of events. The structural method allows identifying the stable relationships within the system, to ensure the protection of its basic principals. The article examines the events in a broad comparative context of history. Results. The unknown facts of the life of A.D. Buchin are compiled into a structured bi-ography of the Russian White émigré person. The author creates a personal portrait of the engineer, presenting various aspects of his life as hobbies, his sympathies, attitude to politics. Part of the article describes Mr Buchin life in the city of Sabac, there he resided. This article is intended to complement the global theme “Russian emigration in Serbia”.

Данная статья посвящена истории потомственного малороссийского священнического рода в контексте Гражданской войны на Юге России в 1918-1921 гг. Целью данного исследования было изучение биографии священника Георгия Павловича Руткевича, погибшего в станице Некрасовская Кубанской области 8 августа 1918 г. Для достижения поставленной цели автором, помимо традиционных методов, использовался просопографический метод исследования. Документы ряда архивов, а также сведения, полученные от потомков погибшего священника, позволили проследить судьбу рода Руткевичей как в Российской Империи, так в СССР и за границей. На данном этапе изучения были получены сведения о жизни потомков старшей дочери священника Георгия Руткевича - Лидии Георгиевны Фигуровской, эмигрировавшей вместе с супругом, белогвардейским офицером, в Королевство сербов, хорватов и словенцев. Так же удалось проследить судьбу младшего сына священника - Ивана Георгиевича Руткевича, отдавшего свою жизнь и умения на благо развития советской индустрии. Гибель священника Георгия Руткевича и эмиграция его старшей дочери предопределили существование их ближайших родственников в советском обществе, негативно относящемся к семьям «врагов народа». В данный момент исследователю ничего не известно о судьбе старшего сына отца Георгия - Павла Георгиевича Руткевича. О младшей дочери Екатерине Георгиевне Горбачевой известно лишь, что она в 40-е гг. проживала вместе с матерью - вдовой священника - в подмосковном Загорске. Дальнейший исследовательский поиск, в том числе и биографических материалов в отношении прочих родственников погибшего пастыря, открывает перед историком возможность более точного установления причин и обстоятельств гибели священника Георгия Руткевича. This article is devoted to the history of a hereditary priestly family of Little Russia in the context of the Civil War in the South of Russia (1918-1921). This study aims to examine the biography of Priest Georgy Pavlovich Rutkevich, who died in the stanitsa Nekrasovskaya, Kuban Oblast on August 8, 1918. In addition to traditional ways of research, the author usesthe prosopographic research method. The documents from a number of archives, as well as the information received from the descendants of the deceased priest, made it possible to trace the history of the Rutkevich family in the Russian Empire, in the USSR and abroad. At this stage of the study, the author obtained the information about the life of the descendants of the eldest daughter of Priest Georgy Rutkevich - Lydia Georgievna Figurovskaya, who emigrated with her husband, a White Guard officer, to the Kingdom of Serbs, Croats and Slovenes. It was also possible to trace the fate of the priest’s youngest son - Ivan Georgievich Rutkevich, who dedicated his life and skills to the development of Soviet industry. The death of priest Georgy Rutkevich and the emigration of his eldest daughter predetermined the existence of their closest relatives in Soviet society - the society hostile to the families of «enemies of the people». At the moment, the researcher still has no information about the fate of Father Georgy’s eldest son, Pavel Georgievich Rutkevich. As for the youngest daughter Ekaterina Georgievna Gorbacheva, it is only known that in the 1940s she lived with her mother - the priest’s widow - in Zagorsk (the present day Sergiev Posad) near Moscow. It is supposed that further research on the documents, including biographical materials regarding other relatives of the deceased pastor, will be helpful at establishing more precisely why and how Priest Georgy Rutkevich died.

Изучалась биография и творчество выдающегося отечественного психолога, философа и представителя российского психологического зарубежья В.В. Зеньковского (1881-1962 гг.). Рассмотрены его ранний период эмиграции и работа в г. Белграде (Королевство сербов, хорватов и словенцев) и г. Праге (Чехословакия) (1920-1926 гг.). Проанализированы фундаментальные психологические идеи В.В. Зеньковского в общей, детской и педагогической психологии, сформулированные им в его монографии «Психология детства» (1924 г.) и курсах лекций «Педагогическая психология» (1924 г.) и «Курс общей психологии» (1925 г.) (на основе архивных материалов). Рассмотрены также его научные концепции в области теории и методологии психологии (структура психологической науки, строение душевной жизни, о ведущей роли эмоциональной сферы в психике человека), детской психологии (педологические основы психологии ребенка, задачи и методы детской психологии, проблемы понимания и самостоятельности феномена детства, роль игры в биологическом, психическом и социальном развитии ребенка) и педагогической психологии (социально-психологические основы педагогической психологии, социально-психологические феномены педагогического процесса, классификация социальных ролей ученика и учителя, психология поведения класса). В.В. Зеньковский представляется как оригинальный теоретик и методолог психологии, разработчик основ изучения психики ребенка, создатель социально-психологического подхода в педагогической психологии. Его концепции этого периода могут быть востребованы в настоящее время при решении методологических вопросов психологии, социально-психологических проблем педагогики, проблем социального воспитания личности, при изучении развития психических процессов и личности ребенка. The author refers to the biography and work of the outstanding Russian psychologist, philosopher and representative of the Russian psychological abroad community V.V. Zenkovsky (1881-1962 y.). The early emigration period of his life and work in Belgrade (the Kingdom of Serbs, Croats and Slovenes) and Prague (Czechoslovakia) (1920-1926 y.) is considered. The author discusses the fundamental psychological ideas of V.V. Zenkovsky regarding general psychology, child psychology and pedagogical psychology, which he formulated at that time in his monograph “Psychology of Childhood” (1924) and lecture courses “Pedagogical Psychology” (1924) and “The Course of General Psychology” (1925) (based on archival materials). There are significant scientific concepts of V.V. Zenkovsky in the field of theory and methodology of psychology (the structure of psychological science, the structure of mental life, the leading role of the emotional sphere in the human psyche), child psychology (pedological foundations of child psychology, tasks and methods of child psychology, the problem of understanding and independence of the childhood phenomenon, the role of the game in biological, mental and social development of the child) and pedagogical psychology (social-psychological foundations of pedagogical psychology, social-psychological phenomena of educational process, the classification of social roles of student and teacher, the psychology of class behavior). V.V. Zenkovsky is presented as an original theoretician and methodologist of psychology, pedologist, developer of the basics of studying the child’s psyche and creator of the social-psychological approach in pedagogical psychology. Nowadays the analyzed concepts of the Russian psychologist can be demanded when solving methodological issues of psychology, social-psychological problems of pedagogics, problems of social education of a person, when studying and designing the development of child’s mental processes and personality.

A complex biography of Ivo Andrić (1892–1975) was shaped in a wide net of identity references: ethnocultural, religious, political, and linguistic. He was born to a Croatian Catholic family in Bosnia, he was a convinced supporter of Yugoslavism and a writer of the language defined as Croato-Serbian / Serbo-Croatian diasystem. In the period of his links with the cultural environment of Zagreb (1912–1919), he was writing according to the Croatian standard, later basically, in Serbian, but using environmental and stylistic diversity of the diasystem in order to stress its cognitive and artistic potential. Currently, when four national language standards are developing on the basis of the diasystem: Serbian, Croatian, Bosnian and Montenegrin, reading Andrić in accordance with post-Yugoslav linguistic ideas, that is with the awareness and conviction about the „break-up” of the Serbo-Croatian language, would necessarily lead to an absurd conclusion that the writer created his works using the content of various languages. Literary heritage of the great writer of Serbo-Croatian language, which remains a sociocultural fact, has been used not only by Serbian culture and language, but also by global culture – thanks to translations of the works of this Nobel laureate into numerous world languages.

This article deals with the biography of the German Slavist Hildegard Striedter-Temps (1931–1972) and the creation and reception of her volume Deutsche Lehnwörter im Slovenischen (German Loanwords in Slovenian), published in 1963. This work, together with her dissertation Deutsche Lehnwörter im Serbokroatischen (German Loanwords in Serbo-Croatian), printed in 1958, is still one of the standard works on Slavic-German language contact.

Overview of scientific and professional work of the archaeologist Šime Batović, PhD, full professor has been presented to the archaeological and wide public on more than one occasion. Even so, it is still not thoroughly evaluated. This foreword is only a very brief summary of his scholarly qualities, with selected biographic or bibliographic information. It should present importance of his complex work, what determined and shaped it, making it fundamental and permanent in Croatian prehistoric archaeology.

Introduction: Socialism – from Eternal Reality to Passing DreamThe Year of Revolutions in 1989 presaged the end of the Cold War. For many people, it must have felt like the end of the Twentieth Century, and the 1990s a period of waiting for the Millennium. However, the 1990s was, in fact, a period of profound transformation in the post-Socialist world.In early representations of Socialism’s end, a dominant narrative was that of collapse. Dramatic events, such as the dismantling of the Berlin Wall in Germany enabled representation of the end as an unexpected moment. Senses of unexpectedness rested on erstwhile perceptions of Socialism as eternal.In contrast, the 1990s came to be a decade of revision in which thinking switched from considering Socialism’s persistence to asking, “why it went wrong?” I explore this question in relation to former-Yugoslavia. In brief, the Socialist Federal Republic of Yugoslavia (SFRY) was replaced through the early 1990s by six independent nation states: Bosnia and Herzegovina, Croatia, Macedonia, Montenegro, Serbia, and Slovenia. Kosovo came much later. In the states that were significantly ethnically mixed, the break-up was accompanied by violence. Bosnia in the 1990s will be remembered for an important contribution to the lexicon of ideas – ethnic cleansing.Revisionist historicising of the former-Yugoslavia in the 1990s was led by the scholarly community. By and large, it discredited the Ancient Ethnic Hatreds (AEH) thesis commonly held by nationalists, simplistic media commentators and many Western politicians. The AEH thesis held that Socialism’s end was a consequence of the up-swelling of primordial (natural) ethnic tensions. Conversely, the scholarly community tended to view Socialism’s failure as an outcome of systemic economic and political deficiencies in the SFRY, and that these deficiencies were also, in fact the root cause of those ethnic tensions. And, it was argued that had such deficiencies been addressed earlier Socialism may have survived and fulfilled its promise of eternity (Verdery).A third significant perspective which emerged through the 1990s was that the collapse of Socialism was an outcome of the up-swelling of, if not primordial ethnic tensions then, at least repressed historical memories of ethnic tensions, especially of the internecine violence engendered locally by Nazi and Italian Fascist forces in WWII. This perspective was particularly en vogue within the unusually rich arts scene in former-Yugoslavia. Its leading exponent was Slovenian avant-garde rock band Laibach.In this article, I consider Laibach’s career and methods. For background the article draws substantially on Alexei Monroe’s excellent biography of Laibach, Interrogation Machine: Laibach and NSK (2005). However, as I indicate below, my interpretation diverges very significantly from Monroe’s. Laibach’s most significant body of work is the cover versions of Western pop songs it recorded in the middle part of its career. Using a technique that has been labelled retroquotation (Monroe), it subtly transforms the lyrical content, and radically transforms the musical arrangement of pop songs, thereby rendering them what might be described as martial anthems. The clearest illustration of the process is Laibach’s version of Opus’s one hit wonder “Live is Life”, which is retitled as “Life is Life” (Laibach 1987).Conventional scholarly interpretations of Laibach’s method (including Monroe’s) present it as entailing the uncovering of repressed forms of individual and collective totalitarian consciousness. I outline these ideas, but supplement them with an alternative interpretation. I argue that in the cover version stage of its career, Laibach switched its attention from seeking to uncover repressed totalitarianism towards uncovering repressed memories of ethnic tension, especially from WWII. Furthermore, I argue that its creative medium of Western pop music is especially important in this regard. On the bases of ethnographic fieldwork conducted in Bosnia (University of Melbourne Human Ethics project 1544213.1), and of a reading of SFRY’s geopolitical history, I demonstrate that for many people, Western popular cultural forms came to represent the quintessence of what it was to be Yugoslav. In this context, Laibach’s retroquotation of Western pop music is akin to a broader cultural practice in the post-SFRY era in which symbols of the West were iconoclastically transformed. Such transformation served to reveal a public secret (Taussig) of repressed historic ethnic enmity within the very heart of things that were regarded as quintessentially and pan-ethnically Yugoslav. And, in so doing, this delegitimised memory of SFRY ever having been a properly functioning entity. In this way, Laibach contributed significantly to a broader process in which perceptions of Socialist Yugoslavia came to be rendered less as a reality with the potential for eternity than a passing dream.What Is Laibach and What Does It Do?Originally of the industrial rock genre, Laibach has evolved through numerous other genres including orchestral rock, choral rock and techno. It is not, however, a rock group in any conventional sense. Laibach is the musical section of a tripartite unit named Neue Slowenische Kunst (NSK) which also encompasses the fine arts collective Irwin and a variety of theatre groups.Laibach was the name by which the Slovenian capital Ljubljana was known under the Austrian Habsburg Empire and then Nazi occupation in WWII. The choice of name hints at a central purpose of Laibach and NSK in general, to explore the relationship between art and ideology, especially under conditions of totalitarianism. In what follows, I describe how Laibach go about doing this.Laibach’s central method is eclecticism, by which symbols of the various ideological regimes that are its and the NSK’s subject matter are intentionally juxtaposed. Eclecticism of this kind was characteristic of the postmodern aesthetics typical of the 1990s. Furthermore, and counterintuitively perhaps, postmodernism was as much a condition of the Socialist East as it was the Capitalist West. As Mikhail N. Epstein argues, “Totalitarianism itself may be viewed as a specific postmodern model that came to replace the modernist ideological stance elaborated in earlier Marxism” (102). However, Western and Eastern postmodernisms were fundamentally different. In particular, while the former was largely playful, ironicising and depoliticised, the latter, which Laibach and NSK may be regarded as being illustrative of, involved placing in opposition to one another competing and antithetical aesthetic, political and social regimes, “without the contradictions being fully resolved” (Monroe 54).The performance of unresolved contradictions in Laibach’s work fulfils three principal functions. It works to (1) reveal hidden underlying connections between competing ideological systems, and between art and power more generally. This is evident in Life is Life. The video combines symbols of Slovenian romantic nationalism (stags and majestic rural landscapes) with Nazism and militarism (uniforms, bodily postures and a martial musical arrangement). Furthermore, it presents images of the graves of victims of internecine violence in WWII. The video is a reminder to Slovenian viewers of a discomforting public secret within their nation’s history. While Germany is commonly viewed as a principal oppressor of Slovenian nationalism, the rural peasantry, who are represented as embodying Slovenian nationalism most, were also the most willing collaborators in imperialist processes of Germanicisation. The second purpose of the performance of unresolved contradictions in Laibach’s work is to (2) engender senses of the alienation, especially as experienced by the subjects of totalitarian regimes. Laibach’s approach in this regard is quite different to that of punk, whose concern with alienation - symbolised by safety pins and chains - was largely celebratory of the alienated condition. Rather, Laibach took a lead from seminal industrial rock bands such as Einstürzende Neubauten and Throbbing Gristle (see, for example, Walls of Sound (Throbbing Gristle 2004)), whose sound one fan accurately describes as akin to, “the creation of the universe by an angry titan/God and a machine apocalypse all rolled into one” (rateyourmusic.com). Certainly, Laibach’s shows can be uncomfortable experiences too, involving not only clashing symbols and images, but also the dissonant sounds of, for example, martial music, feedback, recordings of the political speeches of totalitarian leaders and barking dogs, all played at eardrum-breaking high volumes. The purpose of this is to provide, as Laibach state: “a ritualized demonstration of political force” (NSK, Neue Slowenische Kunst 44). In short, more than simply celebrating the experience of totalitarian alienation, Laibach’s intention is to reproduce that very alienation.More than performatively representing tyranny, and thereby senses of totalitarian alienation, Laibach and NSK set out to embody it themselves. In particular, and contra the forms of liberal humanism that were hegemonic at the peak of their career in the 1990s, their organisation was developed as a model of totalitarian collectivism in which the individual is always subjugated. This is illustrated in the Onanigram (NSK, Neue Slowenische Kunst), which, mimicking the complexities of the SFRY in its most totalitarian dispensation, maps out in labyrinthine detail the institutional structure of NSK. Behaviour is governed by a Constitution that states explicitly that NSK is a group in which, “each individual is subordinated to the whole” (NSK, Neue Slowenische Kunst 273). Lest this collectivism be misconceived as little more than a show, the case of Tomaž Hostnik is instructive. The original lead singer of Laibach, Hostnik committed ritual suicide by hanging himself from a hayrack, a key symbol of Slovenian nationalism. Initially, rather than mourning his loss, the other members of Laibach posthumously disenfranchised him (“threw him out of the band”), presumably for his act of individual will that was collectively unsanctioned.Laibach and the NSK’s collectivism also have spiritual overtones. The Onanigram presents an Immanent Consistent Spirit, a kind of geist that holds the collective together. NSK claim: “Only God can subdue LAIBACH. People and things never can” (NSK, Neue Slowenische Kunst 289). Furthermore, such rhetorical bombast was matched in aspiration. Most famously, in one of the first instances of a micro-nation, NSK went on to establish itself as a global and virtual non-territorial state, replete with a recruitment drive, passports and anthem, written and performed by Laibach of course. Laibach’s CareerLaibach’s career can be divided into three overlapping parts. The first is its career as a political provocateur, beginning from the inception of the band in 1980 and continuing through to the present. The band’s performances have touched the raw nerves of several political actors. As suggested above, Laibach offended Slovenian nationalists. The band offended the SFRY, especially when in its stage backdrop it juxtaposed images of a penis with Marshal Josip Broz “Tito”, founding President of the SFRY. Above all, it offended libertarians who viewed the band’s exploitation of totalitarian aesthetics as a route to evoking repressed totalitarian energies in its audiences.In a sense the libertarians were correct, for Laibach were quite explicit in representing a third function of their performance of unresolved contradictions as being to (3) evoke repressed totalitarian energies. However, as Žižek demonstrates in his essay “Why Are Laibach and NSK Not Fascists”, Laibach’s intent in this regard is counter-totalitarian. Laibach engage in what amounts to a “psychoanalytic cure” for totalitarianism, which consists of four envisaged stages. The consumers of Laibach’s works and performances go through a process of over-identification with totalitarianism, leading through the experience of alienation to, in turn, disidentification and an eventual overcoming of that totalitarian alienation. The Žižekian interpretation of the four stages has, however been subjected to critique, particularly by Deleuzian scholars, and especially for its psychoanalytic emphasis on the transformation of individual (un)consciousness (i.e. the cerebral rather than bodily). Instead, such scholars prefer a schizoanalytic interpretation which presents the cure as, respectively collective (Monroe 45-50) and somatic (Goddard). Laibach’s works and pronouncements display, often awareness of such abstract theoretical ideas. However, they also display attentiveness to the concrete realities of socio-political context. This was reflected especially in the 1990s, when its focus seemed to shift from the matter of totalitarianism to the overriding issue of the day in Laibach’s homeland – ethnic conflict. For example, echoing the discourse of Truth and Reconciliation emanating from post-Apartheid South Africa in the early 1990s, Laibach argued that its work is “based on the premise that traumas affecting the present and the future can be healed only by returning to the initial conflicts” (NSK Padiglione).In the early 1990s era of post-socialist violent ethnic nationalism, statements such as this rendered Laibach a darling of anti-nationalism, both within civil society and in what came to be known pejoratively as the Yugonostagic, i.e. pro-SFRY left. Its darling status was cemented further by actions such as performing a concert to celebrate the end of the Bosnian war in 1996, and because its ideological mask began to slip. Most famously, when asked by a music journalist the standard question of what the band’s main influences were, rather than citing other musicians Laibach stated: “Tito, Tito and Tito.” Herein lies the third phase of Laibach’s career, dating from the mid-1990s to the present, which has been marked by critical recognition and mainstream acceptance, and in contrasting domains. Notably, in 2012 Laibach was invited to perform at the Tate Modern in London. Then, entering the belly of what is arguably the most totalitarian of totalitarian beasts in 2015, it became the first rock band to perform live in North Korea.The middle part in Laibach’s career was between 1987 and 1996. This was when its work consisted mostly of covers of mainstream Western pop songs by, amongst others Opus, Queen, The Rolling Stones, and, in The Final Countdown (1986), Swedish ‘big hair’ rockers. It also covered entire albums, including a version of Andrew Lloyd Webber’s rock opera Jesus Christ Superstar. No doubt mindful of John Lennon’s claim that his band was more popular than the Messiah himself, Laibach covered the Beatles’ final album Let It Be (1970). Highlighting the perilous hidden connections between apparently benign and fascistic forms of sedentarism, lead singer Milan Fras’ snarling delivery of the refrain “Get Back to where you once belong” renders the hit single from that album less a story of homecoming than a sinister warning to immigrants and ethnic others who are out of place.This career middle stage invoked critique. However, commonplace suggestions that Laibach could be characterised as embodying Retromania, a derivative musical trend typical of the 1990s that has been lambasted for its de-politicisation and a musical conservatism enabled by new sampling technologies that afforded a forensic documentary precision that prohibits creative distortion (Reynolds), are misplaced. Several scholars highlight Laibach’s ceaseless attention to musical creativity in the pursuit of political subversiveness. For example, for Monroe, the cover version was a means for Laibach to continue its exploration of the connections between art and ideology, of illuminating the connections between competing ideological systems and of evoking repressed totalitarian energies, only now within Western forms of entertainment in which ideological power structures are less visible than in overt totalitarian propaganda. However, what often seems to escape intellectualist interpretations presented by scholars such as Žižek, Goddard and (albeit to a lesser extent) Monroe is the importance of the concrete specificities of the context that Laibach worked in in the 1990s – i.e. homeland ethno-nationalist politics – and, especially, their medium – i.e. Western pop music.The Meaning and Meaningfulness of Western Popular Culture in Former YugoslaviaThe Laibach covers were merely one of many celebrations of Western popular culture that emerged in pre- and post-socialist Yugoslavia. The most curious of these was the building of statues of icons of screen and stage. These include statues of Tarzan, Bob Marley, Rocky Balboa and, most famously, martial arts cinema legend Bruce Lee in the Bosnian city of Mostar.The pop monuments were often erected as symbols of peace in contexts of ethnic-national violence. Each was an ethnic hybrid. With the exception of original Tarzan Johnny Weismuller — an ethnic-German American immigrant from Serbia — none was remotely connected to the competing ethnic-national groups. Thus, it was surprising when these pop monuments became targets for iconoclasm. This was especially surprising because, in contrast, both the new ethnic-national monuments that were built and the old Socialist pan-Yugoslav monuments that remained in all their concrete and steel obduracy in and through the 1990s were left largely untouched.The work of Simon Harrison may give us some insight into this curious situation. Harrison questions the commonplace assumption that the strength of enmity between ethnic groups is related to their cultural dissimilarity — in short, the bigger the difference the bigger the biffo. By that logic, the new ethnic-national monuments erected in the post-SFRY era ought to have been vandalised. Conversely, however, Harrison argues that enmity may be more an outcome of similarity, at least when that similarity is torn asunder by other kinds of division. This is so because ownership of previously shared and precious symbols of identity appears to be seen as subjected to appropriation by ones’ erstwhile comrades who are newly othered in such moments.This is, indeed, exactly what happened in post-socialist former-Yugoslavia. Yugoslavs were rendered now as ethnic-nationals: Bosniaks (Muslims), Croats and Serbs in the case of Bosnia. In the process, the erection of obviously non-ethnic-national monuments by, now inevitably ethnic-national subjects was perceived widely as appropriation – “the Croats [the monument in Mostar was sculpted by Croatian artist Ivan Fijolić] are stealing our Bruce Lee,” as one of my Bosnian-Serb informants exclaimed angrily.However, this begs the question: Why would symbols of Western popular culture evoke the kinds of emotions that result in iconoclasm more so than other ethnically non-reducible ones such as those of the Partisans that are celebrated in the old Socialist pan-Yugoslav monuments? The answer lies in the geopolitical history of the SFRY. The Yugoslav-Soviet Union split in 1956 forced the SFRY to develop ever-stronger ties with the West. The effects of this became quotidian, especially as people travelled more or less freely across international borders and consumed the products of Western Capitalism. Many of the things they consumed became deeply meaningful. Notably, barely anybody above a certain age does not reminisce fondly about the moment when participation in martial arts became a nationwide craze following the success of Bruce Lee’s films in the golden (1970s-80s) years of Western-bankrolled Yugoslav prosperity.Likewise, almost everyone above a certain age recalls the balmy summer of 1985, whose happy zeitgeist seemed to be summed up perfectly by Austrian band Opus’s song “Live is Life” (1985). This tune became popular in Yugoslavia due to its apparently feelgood message about the joys of attending live rock performances. In a sense, these moments and the consumption of things “Western” in general came to symbolise everything that was good about Yugoslavia and, indeed to define what it was to be Yugoslavs, especially in comparison to their isolated and materially deprived socialist comrades in the Warsaw Pact countries.However, iconoclastic acts are more than mere emotional responses to offensive instances of cultural appropriation. As Michael Taussig describes, iconoclasm reveals the public secrets that the monuments it targets conceal. SFRY’s great public secret, known especially to those people old enough to have experienced the inter-ethnic violence of WWII, was ethnic division and the state’s deceit of the historic normalcy of pan-Yugoslav identification. The secret was maintained by a formal state policy of forgetting. For example, the wording on monuments in sites of inter-ethnic violence in WWII is commonly of the variety: “here lie the victims in Yugoslavia’s struggle against imperialist forces and their internal quislings.” Said quislings were, of course, actually Serbs, Croats, and Muslims (i.e. fellow Yugoslavs), but those ethnic nomenclatures were almost never used.In contrast, in a context where Western popular cultural forms came to define the very essence of what it was to be Yugoslav, the iconoclasm of Western pop monuments, and the retroquotation of Western pop songs revealed the repressed deceit and the public secret of the reality of inter-ethnic tension at the heart of that which was regarded as quintessentially Yugoslav. In this way, the memory of Yugoslavia ever having been a properly functioning entity was delegitimised. Consequently, Laibach and their kind served to render the apparent reality of the Yugoslav ideal as little more than a dream. ReferencesEpstein, Mikhail N. 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Princeton, NJ: Princeton University Press.Žižek, Slavoj. “Why Are Laibach and NSK Not Fascists?” 3 Sep. 2018 <www.nskstate.com/appendix/articles/why_are_laibach.php.>