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Regaining The past. Yugoslav legacy in the period of transition
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The author adeptly addresses the paradox of Yugoslavia's dissolution as a nation while it persists in personal memories and within certain cultural entities in Serbia. Tijana Vuković's study, spanning from 2003 to 2020, seeks to present verified historical insights into the reception and continuity of the Yugoslav legacy. This research aims to aid in overcoming the cultural trauma and challenges that arose from Yugoslavia's disintegration.Tijana Vuković delves into the influence and significance of the Yugoslav narrative and heritage across various cultural institutions, examining their economic backgrounds, decision-making processes, and socio-cultural as well as production conditions. In her exploration, she highlights official bodies such as the Serbian Pavilion in Venice, the Museum of Contemporary Art in Belgrade, and the Museum of Yugoslavia. She also brings attention to alternative spaces like the Centre for Cultural Decontamination, squat Inex, and the cultural hub Catch 22.This research provides an anthropological perspective by revealing the operational realities on the ground, serving as a prelude to a richer understanding and a more comprehensive mapping of Serbian institutions in the post-Yugoslav era. While these instances may seem isolated, they offer a shared platform for various interpretations of the developments concerning the Yugoslav cultural nation and the concept of Yugoslavism, or any fragmented ex-nationalism, particularly in terms of its cultural possibilities.
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The author adeptly addresses the paradox of Yugoslavia's dissolution as a nation while it persists in personal memories and within certain cultural entities in Serbia. Tijana Vuković's study, spanning from 2003 to 2020, seeks to present verified historical insights into the reception and continuity of the Yugoslav legacy. This research aims to aid in overcoming the cultural trauma and challenges that arose from Yugoslavia's disintegration.Tijana Vuković delves into the influence and significance of the Yugoslav narrative and heritage across various cultural institutions, examining their economic backgrounds, decision-making processes, and socio-cultural as well as production conditions. In her exploration, she highlights official bodies such as the Serbian Pavilion in Venice, the Museum of Contemporary Art in Belgrade, and the Museum of Yugoslavia. She also brings attention to alternative spaces like the Centre for Cultural Decontamination, squat Inex, and the cultural hub Catch 22.This research provides an anthropological perspective by revealing the operational realities on the ground, serving as a prelude to a richer understanding and a more comprehensive mapping of Serbian institutions in the post-Yugoslav era. While these instances may seem isolated, they offer a shared platform for various interpretations of the developments concerning the Yugoslav cultural nation and the concept of Yugoslavism, or any fragmented ex-nationalism, particularly in terms of its cultural possibilities.
