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Retracing images : visual culture after Yugoslavia /
edited by Daniel Šuber and Slobodan Karamanić.
Leiden ; Boston : Brill, c2012.
xvi, 349 p. : ill. ; 25 cm.
900421030X (Cloth), 9789004210301 (Cloth)
More Details
Leiden ; Boston : Brill, c2012.
900421030X (Cloth)
9789004210301 (Cloth)
catalogue key
Includes bibliographical references and index.
A Look Inside
About the Author
Author Affiliation
Daniel uber Ph.D. (2006) in Sociology, University of Konstanz (Germany), is Assistant Professor of Sociology at the University of Lucerne, Switzerland. He has worked on Social and Cultural Theory and Sociology of conflict with special interest on post-Yugoslav societies. Slobodan Karamanic is an Associate Researcher at the University of Edinburgh (UK) and a Ph.D. candidate at the Ljubljana Graduate School of Humanities, Slovenia. He has published numerous articles on political and cultural history of (post-)Yugoslavia and the Balkans.
First Chapter
Since the beginning of the dissolution process of the Yugoslav federation in the late 1980s, social scientists and other observes have brought forward a vast, but nonetheless inconclusive body of literature trying to account for the exceptional transition of Yugoslavia from the self-management socialist system to what is nowadays coined post-socialism. The logics of these conflicts have been described from a variety of disciplinary angles. But apart from the alleged plurality of these different ways of looking at the Yugoslav case – most of them still have something in common: they have been mostly focused on the macro social, (global) political and economic level, situated within the fundamental fields of political and economic sciences, legal studies, or historiography. The dominance of short-term, institutionalist and power-centred approaches have been occasionally challenged by voices like Maria Todorova and Andrew Wachtel who argue for the necessity of a long-term, non-formal and genuinely every-day life departure point from which to draw the case.
This item was reviewed in:
Reference & Research Book News, April 2012
To find out how to look for other reviews, please see our guides to finding book reviews in the Sciences or Social Sciences and Humanities.
Bowker Data Service Summary
The essays in this collection disclose cultural and political dynamics as they occurred before and in the wake of Yugoslavia's dissolution by analyzing visual data such as film, art, graffiti, street-art, public advertisement, memorials, and monuments.
Description for Reader
All those interested in the logics of the conflict underlying the Yugoslav Wars since 1991, especially from disciplines that regard cultural developments as central to their approach, including sociologists, art-historians, anthropologists and those working in Visual and Cultural Studies.
Main Description
The essays in this collection disclose cultural and political dynamics as they occurred before and in the wake of Yugoslavias dissolution (1991-92) by analyzing visual data such as film, art, graffiti, street-art, public advertisement, memorials, and monuments. Within the vast field of Balkan Studies such visual materials have rarely been taken for important empirical evidence. Against the still widely held presumption that the cultural production of allegedly totalitarian" states such as Yugoslavia can be neglected as they were penetrated by state ideology, the contributions offer a corrective image of the complex ideological dynamics and discoursive potentials in various artistic and cultural fields. Phenomena such as "Titostalgia", nationalist mobilization, nation-branding, rewriting of history, inventing of traditions, and symbolic violence that have surfaced in recent years are interpreted in the light of Yugoslavias legacy.Contributors include: Zoran Terzi , Elissa Helms, Miklavz Komelj, Neboj a Jovanovi , Isabel Ströhle, Sezgin Boynik, Gregor Bulc, Davor Beganovi , Robert Alagjozovski, Gal Kirn, Mitja Velikonja, Daniel uber, and Slobodan Karamani ."
Main Description
Yugoslav War, Visual Culture, Cultural Studies, Balkan Studies, Images, Symbolic Politics, Political Iconography
Table of Contents
Acknowledgementsp. vii
List of Contributorsp. ix
List of Figuresp. xiii
Mapping the Field: Towards Reading Images in the (Post-)Yugoslav Contextp. 1
Art and the Other Scene
'Image Games': Political Imagology and the Mimicry of Powerp. 29
The Function of the Signifier 'Totalitarianism' in the Constitution of the 'East Art' Fieldp. 55
New Collectives: Art Networks and Cultural Policies in Post-Yugoslav Spacesp. 81
Spraying on Gallery Walls: Graffiti and the Art Field in Sloveniap. 107
Moving Pictures: Before and After Destruction
Changing Fates: The Role of the Hero in Yugoslav Cinema in the Early and Late Sixtiesp. 135
Futur Antérieur of Yugoslav Cinema, or, Why Emir Kusturica's Legacy is Worth Fighting forp. 149
The Nationalistic Turn and the Visual Response in Macedonian Art and Cinemap. 171
Images in Retrospect: Creating Memory, Negating History
'Bosnian Girl': Nationalism and Innocence through Images of Womenp. 195
Reinventing Kosovo: Newborn and the Young Europeansp. 223
Transformation of Memorial Sites in the Post-Yugoslav Contextp. 251
Titostalgia. On the Post-Yugoslav Cognitive Mapp. 283
Symbolic Landscape, Violence and the Normalization Process in Post-Milo¿evic Serbiap. 313
Indexp. 337
Table of Contents provided by Ingram. All Rights Reserved.

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