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Central European Papers
|
2018
|
vol. 6
|
issue 1
139-156
EN
Worker strikes were a common phenomenon in the socialist Yugoslavia, although they officially never existed. They were called work interruptions and were not something that complex Yugoslav self-managed socialism recognised as part of political struggle, since workers officially influenced on all major decisions through so-called self-managing process. This strikes were mostly spontaneous and without the back-up of state and party controlled syndicates. Their origin usually laid in the profit distribution, which was not used for basic investments and living standard of the workers, since it was spent for other capital investment, determined by higher self-management administrative bodies. Strikes were therefore attacking the system by criticizing its own foundations, but not seriously endangering it. Number of strikes was relatively big, their number depending mostly on the changing condition of the Slovene/Yugoslav economy, booming in the late 1980s, when the word strike entered into the official vocabulary once again.
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EN
The article presents a basic overview of the war record of the chief of the Supreme Staff of the Partisan army Arso Jovanović. Jovanović's war biography is described in relation to three social groups in which he had operated. The first social group was the Piper clan, or the local Montenegrin context in which he was born and grew up. The other social group was the leadership of the Communist Party of Yugoslavia (KPJ) with which he cooperated during the war. The third social group was the circle of Montenegrin generals of the Yugoslav army (JA) which Jovanović belonged o until his unexplained death in the summer of 1948. This paper describes how all these groups were interlinked through Jovanović, how they affected each other creating the preconditions for the events of World War II and the post-war period in Yugoslavia.
EN
The starting point of my considerations is the category of the theatre of memory, taken from Francis Yates’ book Art of memory. The category was applied in the book in relation to ancient traditions and mnemonic techniques. In the article I attempt to reinterpret this category and apply it in the description of the contemporary practices of commemorating and reminding of the Socialist Yugoslavia’s experience in space and through space. I am interested in the artistic activities of contemporary visual creators who in their works deal with the subject of SFRY. Referring to the example of the works of the artists belonging to different generations, I discuss two trends seen in the reception of this historical experience. Metonymic approach (Szombathy) is based on problematizing one’s own biographical experience as a part of the G reat H istory, while the metaphorical recognition (Cibic) means a search for universal content in what is historical and local.
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