TY  - JOUR
AU  - Ignjatović, Aleksandar
AU  - Stojiljković, Danica Milan
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/896
AB  - The breakup between socialist Yugoslavia and the Soviet Union in 1948 paved the way for radical socio-political reforms as well as a new cultural model that would justify a newly invented Yugoslav socialist Sonderweg. In this context, Structuralism became a key vehicle for implementing the social and cultural values of the newly invented socialist self-management ideology. Structuralism helped shape the new culture via different fields and cultural approaches. This paper examines the origins and importance of Structuralism in architecture in the ideological and political context of Yugoslav socialism. As an avant-garde movement, Structuralism consequentially contributed to the critique of the then predominant functionalist paradigm of high modernism, resulting in a new direction that emphasised aestheticisation, a formal and semiotic approach, and the establishment of universal and archetypal values ostensibly derived from the exploration of vernacular architecture in Yugoslavia. Starting from the premise that all these values had a major impact on the construction of the mythology of authentic and autochthonous socialism, this paper shows how architectural Structuralism played a key role in shaping social and political authenticity and cultural mediation.
PB  - London: Routledge
PB  - London: Taylor & Francis
T2  - The Journal of Architecture
T1  - Towards an authentic path: Structuralism and architecture in socialist Yugoslavia
VL  - 24
IS  - 6
SP  - 853
EP  - 876
DO  - 10.1080/13602365.2019.1684973
ER  - 

@article{
author = "Ignjatović, Aleksandar and Stojiljković, Danica Milan",
year = "2019",
abstract = "The breakup between socialist Yugoslavia and the Soviet Union in 1948 paved the way for radical socio-political reforms as well as a new cultural model that would justify a newly invented Yugoslav socialist Sonderweg. In this context, Structuralism became a key vehicle for implementing the social and cultural values of the newly invented socialist self-management ideology. Structuralism helped shape the new culture via different fields and cultural approaches. This paper examines the origins and importance of Structuralism in architecture in the ideological and political context of Yugoslav socialism. As an avant-garde movement, Structuralism consequentially contributed to the critique of the then predominant functionalist paradigm of high modernism, resulting in a new direction that emphasised aestheticisation, a formal and semiotic approach, and the establishment of universal and archetypal values ostensibly derived from the exploration of vernacular architecture in Yugoslavia. Starting from the premise that all these values had a major impact on the construction of the mythology of authentic and autochthonous socialism, this paper shows how architectural Structuralism played a key role in shaping social and political authenticity and cultural mediation.",
publisher = "London: Routledge, London: Taylor & Francis",
journal = "The Journal of Architecture",
title = "Towards an authentic path: Structuralism and architecture in socialist Yugoslavia",
volume = "24",
number = "6",
pages = "853-876",
doi = "10.1080/13602365.2019.1684973"
}

Ignjatović, A.,& Stojiljković, D. M.. (2019). Towards an authentic path: Structuralism and architecture in socialist Yugoslavia. in The Journal of Architecture
London: Routledge., 24(6), 853-876.
https://doi.org/10.1080/13602365.2019.1684973

Ignjatović A, Stojiljković DM. Towards an authentic path: Structuralism and architecture in socialist Yugoslavia. in The Journal of Architecture. 2019;24(6):853-876.
doi:10.1080/13602365.2019.1684973 .

Ignjatović, Aleksandar, Stojiljković, Danica Milan, "Towards an authentic path: Structuralism and architecture in socialist Yugoslavia" in The Journal of Architecture, 24, no. 6 (2019):853-876,
https://doi.org/10.1080/13602365.2019.1684973 . .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/934
AB  - Since the birth of modern Serbian national historiography, the encounters and relationships between medieval Serbia and Byzantine culture, art and architecture have preoccupied historians, who devised a thesis about peculiarly "national" variants of Byzantine style. However, the historiographical accounts on Serbo-Byzantine architectural relationships dealt more with issues of Byzantium as a value-loaded construct than withhistorical realities in medieval Serbia. The historiographical construction of Byzantine architecture in Serbian historiography represented an ideological tool par excellence, because it was an integral part of the nation's historicity and modernity, political formations and frontiers. Firstly, the cultural construct of Byzantium was highly instrumental in the Serbian national narrative, torn between a need for cultural authenticity and an imperial mission. Secondly, the relationships between Serbian and Byzantine culture, as seen by art and architectural historians of the late XIX and early XX century, corresponded to a recognizable ideological agenda inextricably linked with the idea of the restoration of medieval "empire". It was this complex image of Byzantium and Byzantine architecture that became useful for crafting an idea of medieval Serbia which would, and should, represent a predecessor of a modern on the cusp of its political and territorial expansion.
PB  - Bucharest: The Romanian National Committee of South-East European Studies ‒ Romanian Academy Association Internationale d’Études du Sud-Est européen
C3  - The 12th Congress of South-East European Studies. Political, Social and Religious Dynamics in South-Eastern Europe /Dynamiques politiques, sociales et religieuses dans le Sud-Est européen
T1  - Neither Byzantine nor Serbian: Byzantine Architecture in Serbian Historiography of the Late-Nineteenth and Early-Twentieth Century
VL  - 127-128
UR  - https://hdl.handle.net/21.15107/rcub_raf_934
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2019",
abstract = "Since the birth of modern Serbian national historiography, the encounters and relationships between medieval Serbia and Byzantine culture, art and architecture have preoccupied historians, who devised a thesis about peculiarly "national" variants of Byzantine style. However, the historiographical accounts on Serbo-Byzantine architectural relationships dealt more with issues of Byzantium as a value-loaded construct than withhistorical realities in medieval Serbia. The historiographical construction of Byzantine architecture in Serbian historiography represented an ideological tool par excellence, because it was an integral part of the nation's historicity and modernity, political formations and frontiers. Firstly, the cultural construct of Byzantium was highly instrumental in the Serbian national narrative, torn between a need for cultural authenticity and an imperial mission. Secondly, the relationships between Serbian and Byzantine culture, as seen by art and architectural historians of the late XIX and early XX century, corresponded to a recognizable ideological agenda inextricably linked with the idea of the restoration of medieval "empire". It was this complex image of Byzantium and Byzantine architecture that became useful for crafting an idea of medieval Serbia which would, and should, represent a predecessor of a modern on the cusp of its political and territorial expansion.",
publisher = "Bucharest: The Romanian National Committee of South-East European Studies ‒ Romanian Academy Association Internationale d’Études du Sud-Est européen",
journal = "The 12th Congress of South-East European Studies. Political, Social and Religious Dynamics in South-Eastern Europe /Dynamiques politiques, sociales et religieuses dans le Sud-Est européen",
title = "Neither Byzantine nor Serbian: Byzantine Architecture in Serbian Historiography of the Late-Nineteenth and Early-Twentieth Century",
volume = "127-128",
url = "https://hdl.handle.net/21.15107/rcub_raf_934"
}

Ignjatović, A.. (2019). Neither Byzantine nor Serbian: Byzantine Architecture in Serbian Historiography of the Late-Nineteenth and Early-Twentieth Century. in The 12th Congress of South-East European Studies. Political, Social and Religious Dynamics in South-Eastern Europe /Dynamiques politiques, sociales et religieuses dans le Sud-Est européen
Bucharest: The Romanian National Committee of South-East European Studies ‒ Romanian Academy Association Internationale d’Études du Sud-Est européen., 127-128.
https://hdl.handle.net/21.15107/rcub_raf_934

Ignjatović A. Neither Byzantine nor Serbian: Byzantine Architecture in Serbian Historiography of the Late-Nineteenth and Early-Twentieth Century. in The 12th Congress of South-East European Studies. Political, Social and Religious Dynamics in South-Eastern Europe /Dynamiques politiques, sociales et religieuses dans le Sud-Est européen. 2019;127-128.
https://hdl.handle.net/21.15107/rcub_raf_934 .

Ignjatović, Aleksandar, "Neither Byzantine nor Serbian: Byzantine Architecture in Serbian Historiography of the Late-Nineteenth and Early-Twentieth Century" in The 12th Congress of South-East European Studies. Political, Social and Religious Dynamics in South-Eastern Europe /Dynamiques politiques, sociales et religieuses dans le Sud-Est européen, 127-128 (2019),
https://hdl.handle.net/21.15107/rcub_raf_934 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/293
AB  - Despite the rapid development of Byzantine studies in the Balkans, Byzantium has remained a controversial and highly politicized subject. Its historical status and ideological significance are ambiguous, making it a topic germane to both scholarship and politics. This was particularly evident at the first four International Congresses of Byzantine Studies held between 1924 and 1934 in Bucharest, Belgrade, Athens and Sofia. This article examines the ideological frameworks and political implications of the congresses as a conspicuous example of the symbiotic nexus between scholarship and politics developed in the precarious geopolitical context of the post-Versailles Balkans. What this article shows is that Byzantium was simultaneously seen as a transnational legacy and exclusive national heritage, which has remained key to its ideological instrumentality until today.
PB  - Routledge
T2  - Journal of Balkan and Near Eastern Studies
T1  - Affecting Consonance, Striving for Dominance: Scholarship and Politics at the Congresses of Byzantine Studies in the Balkans, 1924–1934
DO  - 10.1080/19448953.2018.1506293
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "Despite the rapid development of Byzantine studies in the Balkans, Byzantium has remained a controversial and highly politicized subject. Its historical status and ideological significance are ambiguous, making it a topic germane to both scholarship and politics. This was particularly evident at the first four International Congresses of Byzantine Studies held between 1924 and 1934 in Bucharest, Belgrade, Athens and Sofia. This article examines the ideological frameworks and political implications of the congresses as a conspicuous example of the symbiotic nexus between scholarship and politics developed in the precarious geopolitical context of the post-Versailles Balkans. What this article shows is that Byzantium was simultaneously seen as a transnational legacy and exclusive national heritage, which has remained key to its ideological instrumentality until today.",
publisher = "Routledge",
journal = "Journal of Balkan and Near Eastern Studies",
title = "Affecting Consonance, Striving for Dominance: Scholarship and Politics at the Congresses of Byzantine Studies in the Balkans, 1924–1934",
doi = "10.1080/19448953.2018.1506293"
}

Ignjatović, A.. (2018). Affecting Consonance, Striving for Dominance: Scholarship and Politics at the Congresses of Byzantine Studies in the Balkans, 1924–1934. in Journal of Balkan and Near Eastern Studies
Routledge..
https://doi.org/10.1080/19448953.2018.1506293

Ignjatović A. Affecting Consonance, Striving for Dominance: Scholarship and Politics at the Congresses of Byzantine Studies in the Balkans, 1924–1934. in Journal of Balkan and Near Eastern Studies. 2018;.
doi:10.1080/19448953.2018.1506293 .

Ignjatović, Aleksandar, "Affecting Consonance, Striving for Dominance: Scholarship and Politics at the Congresses of Byzantine Studies in the Balkans, 1924–1934" in Journal of Balkan and Near Eastern Studies (2018),
https://doi.org/10.1080/19448953.2018.1506293 . .

TY  - CHAP
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/809
AB  - Over the course of the late nineteenth and early twentieth century, Serbian scholarship developed not only a highly ambiguous and complex model of perception of the Eastern Roman Empire, but it also evinced a sense of determinism referring to the political and cultural goals of  modern Serbia as a successor to a medieval Serbian state. Yet the most conspicuous evidence of this Serbo-Byzantine discourse, which was based on both the renovatio and translatio doctrines, lay in the sphere of art and architecture. It was the architectural heritage of medieval Serbia, comprising of churches and monasteries dotting the territories of Serbia proper, Kosovo, Montenegro and Macedonia, that represented a basic link with a suitable imperial past of the nation, a vivid reminder of the nation’s former glory. Having been initially perceived as “Byzantine”, and later valued as truly authentic, Serbian architectural monuments of the Middle Ages were systematically nationalized over the course of the late nineteenth and the first half of the twentieth century to became the epitomes of the Serbian variant of translatio.
PB  - Brussels: Academia Belgica
PB  - Rome: Institut Historique Belge de Rome/Belgisch Historisch Instituut te Rome
T2  - Renovatio, Inventio, Absentia Imperii: From the Roman Empire to Contemporary Imperialism
T1  - Translatio Imperii Revisited in the Balkans: Interpretation of Serbian Past and Imperial Imagination, 1878-1941
SP  - 191
EP  - 214
UR  - https://hdl.handle.net/21.15107/rcub_raf_809
ER  - 

@inbook{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "Over the course of the late nineteenth and early twentieth century, Serbian scholarship developed not only a highly ambiguous and complex model of perception of the Eastern Roman Empire, but it also evinced a sense of determinism referring to the political and cultural goals of  modern Serbia as a successor to a medieval Serbian state. Yet the most conspicuous evidence of this Serbo-Byzantine discourse, which was based on both the renovatio and translatio doctrines, lay in the sphere of art and architecture. It was the architectural heritage of medieval Serbia, comprising of churches and monasteries dotting the territories of Serbia proper, Kosovo, Montenegro and Macedonia, that represented a basic link with a suitable imperial past of the nation, a vivid reminder of the nation’s former glory. Having been initially perceived as “Byzantine”, and later valued as truly authentic, Serbian architectural monuments of the Middle Ages were systematically nationalized over the course of the late nineteenth and the first half of the twentieth century to became the epitomes of the Serbian variant of translatio.",
publisher = "Brussels: Academia Belgica, Rome: Institut Historique Belge de Rome/Belgisch Historisch Instituut te Rome",
journal = "Renovatio, Inventio, Absentia Imperii: From the Roman Empire to Contemporary Imperialism",
booktitle = "Translatio Imperii Revisited in the Balkans: Interpretation of Serbian Past and Imperial Imagination, 1878-1941",
pages = "191-214",
url = "https://hdl.handle.net/21.15107/rcub_raf_809"
}

Ignjatović, A.. (2018). Translatio Imperii Revisited in the Balkans: Interpretation of Serbian Past and Imperial Imagination, 1878-1941. in Renovatio, Inventio, Absentia Imperii: From the Roman Empire to Contemporary Imperialism
Brussels: Academia Belgica., 191-214.
https://hdl.handle.net/21.15107/rcub_raf_809

Ignjatović A. Translatio Imperii Revisited in the Balkans: Interpretation of Serbian Past and Imperial Imagination, 1878-1941. in Renovatio, Inventio, Absentia Imperii: From the Roman Empire to Contemporary Imperialism. 2018;:191-214.
https://hdl.handle.net/21.15107/rcub_raf_809 .

Ignjatović, Aleksandar, "Translatio Imperii Revisited in the Balkans: Interpretation of Serbian Past and Imperial Imagination, 1878-1941" in Renovatio, Inventio, Absentia Imperii: From the Roman Empire to Contemporary Imperialism (2018):191-214,
https://hdl.handle.net/21.15107/rcub_raf_809 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/815
AB  - Despite the development of Byzantine studies in the field of art and architecture in the early twentieth-century Balkans, the complex historical status and ideological relevance of Byzantium remained in both historiography and political culture. This was particularly evident at the International Congresses of Byzantine Studies spectacularly hosted by the Balkan capitals in the interwar period. This article discusses the ideological and political aspects of the second congress held in Belgrade in 1927, expressed in the visual staging of the opening ceremony. The text acknowledges that a dual ideological structure of the cultural and political continuity of Byzantium in medieval Serbia and, on the other hand, of a modern Yugoslav afterlife of the “Serbo-Byzantine” Empire, was a conceptual framework not only of the congress itself and its public presentation, but also of the historical imagination in Serbia at the beginning of the XX century that was heavily relied on the interpretation of medieval art and architecture.
PB  - Novi Sad: Matica srpska
T2  - Зборник Матице српске за ликовне уметности = Recherches sur l'art
T1  - Испред византијског пурпура: визуелизација нације на другом византолошком конгресу у Београду 1927. године
T1  - In front of the byzantine purple: visualization of the nation at the 2nd international congress of byzantine studies in Belgrade in 1927
IS  - 46
SP  - 127
EP  - 140
UR  - https://hdl.handle.net/21.15107/rcub_raf_815
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "Despite the development of Byzantine studies in the field of art and architecture in the early twentieth-century Balkans, the complex historical status and ideological relevance of Byzantium remained in both historiography and political culture. This was particularly evident at the International Congresses of Byzantine Studies spectacularly hosted by the Balkan capitals in the interwar period. This article discusses the ideological and political aspects of the second congress held in Belgrade in 1927, expressed in the visual staging of the opening ceremony. The text acknowledges that a dual ideological structure of the cultural and political continuity of Byzantium in medieval Serbia and, on the other hand, of a modern Yugoslav afterlife of the “Serbo-Byzantine” Empire, was a conceptual framework not only of the congress itself and its public presentation, but also of the historical imagination in Serbia at the beginning of the XX century that was heavily relied on the interpretation of medieval art and architecture.",
publisher = "Novi Sad: Matica srpska",
journal = "Зборник Матице српске за ликовне уметности = Recherches sur l'art",
title = "Испред византијског пурпура: визуелизација нације на другом византолошком конгресу у Београду 1927. године, In front of the byzantine purple: visualization of the nation at the 2nd international congress of byzantine studies in Belgrade in 1927",
number = "46",
pages = "127-140",
url = "https://hdl.handle.net/21.15107/rcub_raf_815"
}

Ignjatović, A.. (2018). Испред византијског пурпура: визуелизација нације на другом византолошком конгресу у Београду 1927. године. in Зборник Матице српске за ликовне уметности = Recherches sur l'art
Novi Sad: Matica srpska.(46), 127-140.
https://hdl.handle.net/21.15107/rcub_raf_815

Ignjatović A. Испред византијског пурпура: визуелизација нације на другом византолошком конгресу у Београду 1927. године. in Зборник Матице српске за ликовне уметности = Recherches sur l'art. 2018;(46):127-140.
https://hdl.handle.net/21.15107/rcub_raf_815 .

Ignjatović, Aleksandar, "Испред византијског пурпура: визуелизација нације на другом византолошком конгресу у Београду 1927. године" in Зборник Матице српске за ликовне уметности = Recherches sur l'art, no. 46 (2018):127-140,
https://hdl.handle.net/21.15107/rcub_raf_815 .

TY  - CHAP
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/814
AB  - The truism that the birth of the discipline of architectural history in Serbia was entwined with national emancipation and the construction of an authentic national identity is questioned by the position of the Byzantine cultural heritage in the Serbian architectural past. The germ of »national architecture« – conveniently identified with that of the Middle Ages – was an image of Serbian culture as part of the Byzantine that problematized the very idea of an original, authentic
Serbian identity. This paper will explore the question of the Serbian national narrative torn between a need for cultural authenticity and an imperial mission, and focus on the context in which this duality became a recognizable ideological agenda that justified Serbian political projects in an era when the Kingdom of Serbia was on the cusp of national, cultural and territorial expansion.
PB  - Mainz : Verlag des Römisch-Germanischen Zentralmuseums
T2  - Imagining Byzantium: Perceptions, Patterns, Problems
T1  - Negotiating National Prospects by Capturing the Medieval Past: Byzantium in Serbian Architectural History at the Turn of the 20th Century
SP  - 98
EP  - 109
UR  - https://hdl.handle.net/21.15107/rcub_raf_814
ER  - 

@inbook{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "The truism that the birth of the discipline of architectural history in Serbia was entwined with national emancipation and the construction of an authentic national identity is questioned by the position of the Byzantine cultural heritage in the Serbian architectural past. The germ of »national architecture« – conveniently identified with that of the Middle Ages – was an image of Serbian culture as part of the Byzantine that problematized the very idea of an original, authentic
Serbian identity. This paper will explore the question of the Serbian national narrative torn between a need for cultural authenticity and an imperial mission, and focus on the context in which this duality became a recognizable ideological agenda that justified Serbian political projects in an era when the Kingdom of Serbia was on the cusp of national, cultural and territorial expansion.",
publisher = "Mainz : Verlag des Römisch-Germanischen Zentralmuseums",
journal = "Imagining Byzantium: Perceptions, Patterns, Problems",
booktitle = "Negotiating National Prospects by Capturing the Medieval Past: Byzantium in Serbian Architectural History at the Turn of the 20th Century",
pages = "98-109",
url = "https://hdl.handle.net/21.15107/rcub_raf_814"
}

Ignjatović, A.. (2018). Negotiating National Prospects by Capturing the Medieval Past: Byzantium in Serbian Architectural History at the Turn of the 20th Century. in Imagining Byzantium: Perceptions, Patterns, Problems
Mainz : Verlag des Römisch-Germanischen Zentralmuseums., 98-109.
https://hdl.handle.net/21.15107/rcub_raf_814

Ignjatović A. Negotiating National Prospects by Capturing the Medieval Past: Byzantium in Serbian Architectural History at the Turn of the 20th Century. in Imagining Byzantium: Perceptions, Patterns, Problems. 2018;:98-109.
https://hdl.handle.net/21.15107/rcub_raf_814 .

Ignjatović, Aleksandar, "Negotiating National Prospects by Capturing the Medieval Past: Byzantium in Serbian Architectural History at the Turn of the 20th Century" in Imagining Byzantium: Perceptions, Patterns, Problems (2018):98-109,
https://hdl.handle.net/21.15107/rcub_raf_814 .

TY  - CHAP
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/944
AB  - Vidovdanski hram (1906-1913) skulptora Ivana Meštrovića, nekadašnje ubojito oružje Kraljevine Srbije u borbama za oslobođenje i ujedinjenje Južnih Slovena i glavni simbolički instrument u procesu stvaranja Jugoslavije, postao je svojevrsan relikt jugoslovenske umetnosti i pomalo zanemareno svedočanstvo novije srpske istorije. Međutim, zjapeća praznina oko ovog spomenika prisutna ne samo u Srbiji već i u drugim sredinama bivše Jugoslavije, ne govori samo o nespremnosti da se o njemu kritički sudi, već predstavlja simptom jednog obuhvatnijeg fenomena. Taj hijatus ne otkriva samo savremeni otklon od kritičkog promišljanja stvaranja Jugoslavije i srpskog iskustva u zajedničkoj državi – Kraljevini Srba, Hrvata i Slovenaca (1918–1929), odnosno Kraljevini Jugoslaviji (1929–1941) – već i problematičnost osnova na
kojima je počivao suverenitet njenih naroda.
PB  - Beograd: Muzej Jugoslavije
T2  - Dan vredan veka: 1-XII-1918
T1  - Vidovdanski hram Ivana Meštrovića, stvaranje Jugoslavije i paradoksi nacionalizma
SP  - 77
EP  - 92
UR  - https://hdl.handle.net/21.15107/rcub_raf_944
ER  - 

@inbook{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "Vidovdanski hram (1906-1913) skulptora Ivana Meštrovića, nekadašnje ubojito oružje Kraljevine Srbije u borbama za oslobođenje i ujedinjenje Južnih Slovena i glavni simbolički instrument u procesu stvaranja Jugoslavije, postao je svojevrsan relikt jugoslovenske umetnosti i pomalo zanemareno svedočanstvo novije srpske istorije. Međutim, zjapeća praznina oko ovog spomenika prisutna ne samo u Srbiji već i u drugim sredinama bivše Jugoslavije, ne govori samo o nespremnosti da se o njemu kritički sudi, već predstavlja simptom jednog obuhvatnijeg fenomena. Taj hijatus ne otkriva samo savremeni otklon od kritičkog promišljanja stvaranja Jugoslavije i srpskog iskustva u zajedničkoj državi – Kraljevini Srba, Hrvata i Slovenaca (1918–1929), odnosno Kraljevini Jugoslaviji (1929–1941) – već i problematičnost osnova na
kojima je počivao suverenitet njenih naroda.",
publisher = "Beograd: Muzej Jugoslavije",
journal = "Dan vredan veka: 1-XII-1918",
booktitle = "Vidovdanski hram Ivana Meštrovića, stvaranje Jugoslavije i paradoksi nacionalizma",
pages = "77-92",
url = "https://hdl.handle.net/21.15107/rcub_raf_944"
}

Ignjatović, A.. (2018). Vidovdanski hram Ivana Meštrovića, stvaranje Jugoslavije i paradoksi nacionalizma. in Dan vredan veka: 1-XII-1918
Beograd: Muzej Jugoslavije., 77-92.
https://hdl.handle.net/21.15107/rcub_raf_944

Ignjatović A. Vidovdanski hram Ivana Meštrovića, stvaranje Jugoslavije i paradoksi nacionalizma. in Dan vredan veka: 1-XII-1918. 2018;:77-92.
https://hdl.handle.net/21.15107/rcub_raf_944 .

Ignjatović, Aleksandar, "Vidovdanski hram Ivana Meštrovića, stvaranje Jugoslavije i paradoksi nacionalizma" in Dan vredan veka: 1-XII-1918 (2018):77-92,
https://hdl.handle.net/21.15107/rcub_raf_944 .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2017
UR  - https://raf.arh.bg.ac.rs/handle/123456789/945
AB  - In 1889, on the occasion of celebrating the 500th anniversary of the Kosovo Battle (Vidovdan), the local Serbian Orthodox community of Habsburg Dalmatia built a church dedicated to Saint Lazar. While the church’s architectural features corresponded to local architectural tradition equally shared by the Catholics and Orthodox, its memorial function, centred around Vidovdan, was predominantly related to Serbs. When in 1935 the church’s bell cote was replaced by a new, “SerboByzantine” bell tower, this was not merely an architectural manifestation of a newly invigorated, exclusively Serbian memory of Vidovdan, but also a vivid mark of a new political order in the Kingdom of Yugoslavia. Apart from the novelty of “Serbo-Byzantine” references, the new structure referred to an ongoing scholarly reinterpretation of local architectural heritage, employing its imagery that had been considered genuinely Croatian. The transformed architecture of the “Dalmatian Lazarica” simultaneously re-Serbianized the memory of Vidovdan and nationalized both the history and identity of Dalmatian Kosovo on the eve of its inclusion into the Banovina of Croatia in 1939.
PB  - Belgrade: Faculty of Philosophy, University of Belgrade
PB  - Negev: Ben-Gurion University and Moshe David Gaon Center for Ladino Culture
C3  - Abstracts of papers / International conference Creating memories in aarly modern and modern art and literature, Belgrade, 13th-16th March 2017
T1  - Architectural Metamorphoses of National Memory: 'Lazarica' in Dalmatian Kosovo, 1889-1939
SP  - 31
EP  - 31
UR  - https://hdl.handle.net/21.15107/rcub_raf_945
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2017",
abstract = "In 1889, on the occasion of celebrating the 500th anniversary of the Kosovo Battle (Vidovdan), the local Serbian Orthodox community of Habsburg Dalmatia built a church dedicated to Saint Lazar. While the church’s architectural features corresponded to local architectural tradition equally shared by the Catholics and Orthodox, its memorial function, centred around Vidovdan, was predominantly related to Serbs. When in 1935 the church’s bell cote was replaced by a new, “SerboByzantine” bell tower, this was not merely an architectural manifestation of a newly invigorated, exclusively Serbian memory of Vidovdan, but also a vivid mark of a new political order in the Kingdom of Yugoslavia. Apart from the novelty of “Serbo-Byzantine” references, the new structure referred to an ongoing scholarly reinterpretation of local architectural heritage, employing its imagery that had been considered genuinely Croatian. The transformed architecture of the “Dalmatian Lazarica” simultaneously re-Serbianized the memory of Vidovdan and nationalized both the history and identity of Dalmatian Kosovo on the eve of its inclusion into the Banovina of Croatia in 1939.",
publisher = "Belgrade: Faculty of Philosophy, University of Belgrade, Negev: Ben-Gurion University and Moshe David Gaon Center for Ladino Culture",
journal = "Abstracts of papers / International conference Creating memories in aarly modern and modern art and literature, Belgrade, 13th-16th March 2017",
title = "Architectural Metamorphoses of National Memory: 'Lazarica' in Dalmatian Kosovo, 1889-1939",
pages = "31-31",
url = "https://hdl.handle.net/21.15107/rcub_raf_945"
}

Ignjatović, A.. (2017). Architectural Metamorphoses of National Memory: 'Lazarica' in Dalmatian Kosovo, 1889-1939. in Abstracts of papers / International conference Creating memories in aarly modern and modern art and literature, Belgrade, 13th-16th March 2017
Belgrade: Faculty of Philosophy, University of Belgrade., 31-31.
https://hdl.handle.net/21.15107/rcub_raf_945

Ignjatović A. Architectural Metamorphoses of National Memory: 'Lazarica' in Dalmatian Kosovo, 1889-1939. in Abstracts of papers / International conference Creating memories in aarly modern and modern art and literature, Belgrade, 13th-16th March 2017. 2017;:31-31.
https://hdl.handle.net/21.15107/rcub_raf_945 .

Ignjatović, Aleksandar, "Architectural Metamorphoses of National Memory: 'Lazarica' in Dalmatian Kosovo, 1889-1939" in Abstracts of papers / International conference Creating memories in aarly modern and modern art and literature, Belgrade, 13th-16th March 2017 (2017):31-31,
https://hdl.handle.net/21.15107/rcub_raf_945 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/238
AB  - Between the second half of the nineteenth and middle of the twentieth century, Serbian national historiography developed a complex understanding of relationships between medieval Serbia and the Byzantine Empire. On the one hand, Serbia was seen as a cultural offspring of Byzantium and its most appropriate successor; on the other, historians dissociated the nation from Byzantium, elaborating on its cultural authenticity. Consequently, the position of Byzantium became rather ambivalent, being simultaneously seen as a 'national legacy' and the nation's political adversary and cultural obstacle. This article shows that the complex historiographical elaboration of Serbian-Byzantine relationships was part of a wider ideological structure which was crucial for justifying the nation's cultural exceptionalism, territorial expansionism and imperial ambitions.
PB  - Modern Humanities Research Association
T2  - Slavonic and East European Review
T1  - Byzantium's Apt Inheritors: Serbian Historiography, Nation-Building and Imperial Imagination, 1882-1941
VL  - 94
IS  - 1
SP  - 57
DO  - 10.5699/slaveasteurorev2.94.1.0057
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "Between the second half of the nineteenth and middle of the twentieth century, Serbian national historiography developed a complex understanding of relationships between medieval Serbia and the Byzantine Empire. On the one hand, Serbia was seen as a cultural offspring of Byzantium and its most appropriate successor; on the other, historians dissociated the nation from Byzantium, elaborating on its cultural authenticity. Consequently, the position of Byzantium became rather ambivalent, being simultaneously seen as a 'national legacy' and the nation's political adversary and cultural obstacle. This article shows that the complex historiographical elaboration of Serbian-Byzantine relationships was part of a wider ideological structure which was crucial for justifying the nation's cultural exceptionalism, territorial expansionism and imperial ambitions.",
publisher = "Modern Humanities Research Association",
journal = "Slavonic and East European Review",
title = "Byzantium's Apt Inheritors: Serbian Historiography, Nation-Building and Imperial Imagination, 1882-1941",
volume = "94",
number = "1",
pages = "57",
doi = "10.5699/slaveasteurorev2.94.1.0057"
}

Ignjatović, A.. (2016). Byzantium's Apt Inheritors: Serbian Historiography, Nation-Building and Imperial Imagination, 1882-1941. in Slavonic and East European Review
Modern Humanities Research Association., 94(1), 57.
https://doi.org/10.5699/slaveasteurorev2.94.1.0057

Ignjatović A. Byzantium's Apt Inheritors: Serbian Historiography, Nation-Building and Imperial Imagination, 1882-1941. in Slavonic and East European Review. 2016;94(1):57.
doi:10.5699/slaveasteurorev2.94.1.0057 .

Ignjatović, Aleksandar, "Byzantium's Apt Inheritors: Serbian Historiography, Nation-Building and Imperial Imagination, 1882-1941" in Slavonic and East European Review, 94, no. 1 (2016):57,
https://doi.org/10.5699/slaveasteurorev2.94.1.0057 . .

TY  - BOOK
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/831
AB  - Uprkos značaju teme srpsko-vizantijskih odnosa u nacionalnoj istoriografiji, i popularnosti „Vizantije” u istorijskoj imaginaciji, diskurzivna konstrukcija Vizantije u srpskom nacionalnom narativu je do sada ostala gotovo posve neistražena. To se posebno odnosi na istoriju arhitekture. Pitanje odnosa srpske i vizantijske arhitekture toliko je esencijalizovano i toliko naturalizovano u nacionalnoj istoriografiji, a identitetske i istorijske kategorije „srpskog” i „vizantijskog” toliko su prožete,  tako da je rukopis istovremeno zadobio oblik preciznog seciranja u gusta tkiva istoriografskih narativa i arheološkog ispitivanja pisanih izvora. Pokazalo se da su već prvi rezovi i prva otkopavanja otkrili da ispod površine „prirodne” asocijacije dvaju identitetskih i istorijskih kategorija, proisteklih iz „prirodnosti” istorije srpsko-vizantijskih odnosa u prošlosti, leži ideološka struktura koja se ukazivala kao sve čvršća kako je hiruško-arheološki zahvat sve više napredovao. Osnovna teza monografije leži u tome da je srpsko-vizantijski stil samo površinska manifestacija mnogo dublje ideološke strukture,  mnogo obuhvatnijeg srpsko-vizantijskog diskursa koji je prevazilazio granice arhitekture kao discipline. Knjiga u fokusu ima ne samo istoriju arhitekture već i šire obrise kulturne istorije, sa zadatkom da otkrije fiziku srpsko-vizantijskog diskursa, pronicanje u njegovu epistemološku i ideološku ekonomiju, kao i dinamiku njegovog građenja u periodu ključnom za konstituisanje moderne srpske nacije.
PB  - Beograd: Orion Art
PB  - Univerzitet u Beogradu - Arhitektonski fakultet
T1  - U srpsko-vizantijskom kaleidoskopu: Arhitektura, nacionalizam i imperijalna imaginacija 1878-1941
UR  - https://hdl.handle.net/21.15107/rcub_raf_831
ER  - 

@book{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "Uprkos značaju teme srpsko-vizantijskih odnosa u nacionalnoj istoriografiji, i popularnosti „Vizantije” u istorijskoj imaginaciji, diskurzivna konstrukcija Vizantije u srpskom nacionalnom narativu je do sada ostala gotovo posve neistražena. To se posebno odnosi na istoriju arhitekture. Pitanje odnosa srpske i vizantijske arhitekture toliko je esencijalizovano i toliko naturalizovano u nacionalnoj istoriografiji, a identitetske i istorijske kategorije „srpskog” i „vizantijskog” toliko su prožete,  tako da je rukopis istovremeno zadobio oblik preciznog seciranja u gusta tkiva istoriografskih narativa i arheološkog ispitivanja pisanih izvora. Pokazalo se da su već prvi rezovi i prva otkopavanja otkrili da ispod površine „prirodne” asocijacije dvaju identitetskih i istorijskih kategorija, proisteklih iz „prirodnosti” istorije srpsko-vizantijskih odnosa u prošlosti, leži ideološka struktura koja se ukazivala kao sve čvršća kako je hiruško-arheološki zahvat sve više napredovao. Osnovna teza monografije leži u tome da je srpsko-vizantijski stil samo površinska manifestacija mnogo dublje ideološke strukture,  mnogo obuhvatnijeg srpsko-vizantijskog diskursa koji je prevazilazio granice arhitekture kao discipline. Knjiga u fokusu ima ne samo istoriju arhitekture već i šire obrise kulturne istorije, sa zadatkom da otkrije fiziku srpsko-vizantijskog diskursa, pronicanje u njegovu epistemološku i ideološku ekonomiju, kao i dinamiku njegovog građenja u periodu ključnom za konstituisanje moderne srpske nacije.",
publisher = "Beograd: Orion Art, Univerzitet u Beogradu - Arhitektonski fakultet",
title = "U srpsko-vizantijskom kaleidoskopu: Arhitektura, nacionalizam i imperijalna imaginacija 1878-1941",
url = "https://hdl.handle.net/21.15107/rcub_raf_831"
}

Ignjatović, A.. (2016). U srpsko-vizantijskom kaleidoskopu: Arhitektura, nacionalizam i imperijalna imaginacija 1878-1941. 
Beograd: Orion Art..
https://hdl.handle.net/21.15107/rcub_raf_831

Ignjatović A. U srpsko-vizantijskom kaleidoskopu: Arhitektura, nacionalizam i imperijalna imaginacija 1878-1941. 2016;.
https://hdl.handle.net/21.15107/rcub_raf_831 .

Ignjatović, Aleksandar, "U srpsko-vizantijskom kaleidoskopu: Arhitektura, nacionalizam i imperijalna imaginacija 1878-1941" (2016),
https://hdl.handle.net/21.15107/rcub_raf_831 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/827
AB  - It is often presumed that ecclesiastical autocephaly and national independence
worked together in South-Eastern Europe. But the paths of ecclesiastical and
political independence for Greeks and Serbs, Romanians and Bulgarians
were much more complex and less congruent than historians usually assume.
This volume explores the process of Orthodox Christianity’s ‘nationalization’ in the Bulgarian, Greek, Serbian and Romanian national contexts, its involvement in the changeful and ramified
ideology of nationalism, as well as the national churches’ cultural emancipation
from Constantinople as it entered the age of nationalism.
PB  - London: Modern Humanities Research Association
PB  - School of Slavonic and East European Studies, University College London
T2  - Slavonic and Eastern European Review
T1  - Orthodox Christianity and Nationalism in Nineteenth-Century Southeastern Europe
VL  - 94
IS  - 3
SP  - 548
EP  - 550
DO  - 10.5699/slaveasteurorev2.94.3.0548
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "It is often presumed that ecclesiastical autocephaly and national independence
worked together in South-Eastern Europe. But the paths of ecclesiastical and
political independence for Greeks and Serbs, Romanians and Bulgarians
were much more complex and less congruent than historians usually assume.
This volume explores the process of Orthodox Christianity’s ‘nationalization’ in the Bulgarian, Greek, Serbian and Romanian national contexts, its involvement in the changeful and ramified
ideology of nationalism, as well as the national churches’ cultural emancipation
from Constantinople as it entered the age of nationalism.",
publisher = "London: Modern Humanities Research Association, School of Slavonic and East European Studies, University College London",
journal = "Slavonic and Eastern European Review",
title = "Orthodox Christianity and Nationalism in Nineteenth-Century Southeastern Europe",
volume = "94",
number = "3",
pages = "548-550",
doi = "10.5699/slaveasteurorev2.94.3.0548"
}

Ignjatović, A.. (2016). Orthodox Christianity and Nationalism in Nineteenth-Century Southeastern Europe. in Slavonic and Eastern European Review
London: Modern Humanities Research Association., 94(3), 548-550.
https://doi.org/10.5699/slaveasteurorev2.94.3.0548

Ignjatović A. Orthodox Christianity and Nationalism in Nineteenth-Century Southeastern Europe. in Slavonic and Eastern European Review. 2016;94(3):548-550.
doi:10.5699/slaveasteurorev2.94.3.0548 .

Ignjatović, Aleksandar, "Orthodox Christianity and Nationalism in Nineteenth-Century Southeastern Europe" in Slavonic and Eastern European Review, 94, no. 3 (2016):548-550,
https://doi.org/10.5699/slaveasteurorev2.94.3.0548 . .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/933
AB  - Modern interpretations of the Vidovdan Temple (1906-1913), the fundamental artwork associated with the Yugoslav project, have seen it as a symbol of multicultural, synthetic Yugoslavism. Yet these readings seem to be, to say the least, problematic. While working on his masterpiece the then already internationally-renowned Croatian sculptor Ivan Meštrović imagined it as an architectural-sculptural whole of gargantuan scale that would provide an alternative reading of the history of South Slavs on the brink of their political union. Dismissing deeply antagonizing and mutually exclusive histories of each particular South Slavic nation, he created a mixture of historical references mainly borrowed from archaic Greece and Oriental cultures such as Egyptian, Assyrian, Byzantine, as well as Gothic and paleo-Christian. Meštrović’s historicization and aestheticization of South Slavs’ alleged common identity was not a mere pseudo-historical visual concoction, but
was based on an elaborate ideological concept of Yugoslav primordialism that was inextricably linked with the ideological instrumentalisation of the Orient in Central Europe at the time. Consequently, his sculpted heroes created an alternative historical narrative of South Slav history and supported a vision of the past which became extremely instrumental in both legitimizing and questioning the Yugoslav project in decades to come.
PB  - Zagreb : Faculty of Humanities and Social Sciences, University of Zagreb
C3  - Art and politics in Europe in the modern period : programme and book of abstracts : 29 June 2016 - 2 July 2016, Zagreb, Croatia
T1  - Straddling the National Divide: Yugoslavism, Furore Orientalis and Ivan Meštrović's Vidovdan Temple (1906-1913)
VL  - 50-51
UR  - https://hdl.handle.net/21.15107/rcub_raf_933
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "Modern interpretations of the Vidovdan Temple (1906-1913), the fundamental artwork associated with the Yugoslav project, have seen it as a symbol of multicultural, synthetic Yugoslavism. Yet these readings seem to be, to say the least, problematic. While working on his masterpiece the then already internationally-renowned Croatian sculptor Ivan Meštrović imagined it as an architectural-sculptural whole of gargantuan scale that would provide an alternative reading of the history of South Slavs on the brink of their political union. Dismissing deeply antagonizing and mutually exclusive histories of each particular South Slavic nation, he created a mixture of historical references mainly borrowed from archaic Greece and Oriental cultures such as Egyptian, Assyrian, Byzantine, as well as Gothic and paleo-Christian. Meštrović’s historicization and aestheticization of South Slavs’ alleged common identity was not a mere pseudo-historical visual concoction, but
was based on an elaborate ideological concept of Yugoslav primordialism that was inextricably linked with the ideological instrumentalisation of the Orient in Central Europe at the time. Consequently, his sculpted heroes created an alternative historical narrative of South Slav history and supported a vision of the past which became extremely instrumental in both legitimizing and questioning the Yugoslav project in decades to come.",
publisher = "Zagreb : Faculty of Humanities and Social Sciences, University of Zagreb",
journal = "Art and politics in Europe in the modern period : programme and book of abstracts : 29 June 2016 - 2 July 2016, Zagreb, Croatia",
title = "Straddling the National Divide: Yugoslavism, Furore Orientalis and Ivan Meštrović's Vidovdan Temple (1906-1913)",
volume = "50-51",
url = "https://hdl.handle.net/21.15107/rcub_raf_933"
}

Ignjatović, A.. (2016). Straddling the National Divide: Yugoslavism, Furore Orientalis and Ivan Meštrović's Vidovdan Temple (1906-1913). in Art and politics in Europe in the modern period : programme and book of abstracts : 29 June 2016 - 2 July 2016, Zagreb, Croatia
Zagreb : Faculty of Humanities and Social Sciences, University of Zagreb., 50-51.
https://hdl.handle.net/21.15107/rcub_raf_933

Ignjatović A. Straddling the National Divide: Yugoslavism, Furore Orientalis and Ivan Meštrović's Vidovdan Temple (1906-1913). in Art and politics in Europe in the modern period : programme and book of abstracts : 29 June 2016 - 2 July 2016, Zagreb, Croatia. 2016;50-51.
https://hdl.handle.net/21.15107/rcub_raf_933 .

Ignjatović, Aleksandar, "Straddling the National Divide: Yugoslavism, Furore Orientalis and Ivan Meštrović's Vidovdan Temple (1906-1913)" in Art and politics in Europe in the modern period : programme and book of abstracts : 29 June 2016 - 2 July 2016, Zagreb, Croatia, 50-51 (2016),
https://hdl.handle.net/21.15107/rcub_raf_933 .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/938
AB  - Although the “French Byzantine architecture” was methodically invented by nineteenth century historians, and revived by architects to distinguish the French from other European nations, it was the same nexus between the appropriation of the Byzantine Style and national
 exceptionalism that marked many other nations’ architectural representation of identity between late-nineteenth and first half of the twentieth century.The outrageous insularity of these Neo-Byzantine edifices, which were constructed as islands of apparent architectural archaism in their increasingly modernizing urban settings across Europe, testifies to the duality of national identity that Homi Bhabha has called the tension between the “pedagogical” and “performative”. It is this duality of nation as a historical object and subject of representation that can be traced in various architectural medievalisms—both built and written—across Europe in the critical moment of nation building between the Congress of Berlin and
PB  - Dublin: University College Dublin - School of Art History and Cultural Policy
C3  - Proceedings of the Fourth International Conference of the European Architectural History Network
T1  - Straddling the National Divide: Appropriated Pasts, Inverted Archaeologies, and Byzantine Architecture in Europe, 1878-1939
SP  - 333
EP  - 334
UR  - https://hdl.handle.net/21.15107/rcub_raf_938
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "Although the “French Byzantine architecture” was methodically invented by nineteenth century historians, and revived by architects to distinguish the French from other European nations, it was the same nexus between the appropriation of the Byzantine Style and national
 exceptionalism that marked many other nations’ architectural representation of identity between late-nineteenth and first half of the twentieth century.The outrageous insularity of these Neo-Byzantine edifices, which were constructed as islands of apparent architectural archaism in their increasingly modernizing urban settings across Europe, testifies to the duality of national identity that Homi Bhabha has called the tension between the “pedagogical” and “performative”. It is this duality of nation as a historical object and subject of representation that can be traced in various architectural medievalisms—both built and written—across Europe in the critical moment of nation building between the Congress of Berlin and",
publisher = "Dublin: University College Dublin - School of Art History and Cultural Policy",
journal = "Proceedings of the Fourth International Conference of the European Architectural History Network",
title = "Straddling the National Divide: Appropriated Pasts, Inverted Archaeologies, and Byzantine Architecture in Europe, 1878-1939",
pages = "333-334",
url = "https://hdl.handle.net/21.15107/rcub_raf_938"
}

Ignjatović, A.. (2016). Straddling the National Divide: Appropriated Pasts, Inverted Archaeologies, and Byzantine Architecture in Europe, 1878-1939. in Proceedings of the Fourth International Conference of the European Architectural History Network
Dublin: University College Dublin - School of Art History and Cultural Policy., 333-334.
https://hdl.handle.net/21.15107/rcub_raf_938

Ignjatović A. Straddling the National Divide: Appropriated Pasts, Inverted Archaeologies, and Byzantine Architecture in Europe, 1878-1939. in Proceedings of the Fourth International Conference of the European Architectural History Network. 2016;:333-334.
https://hdl.handle.net/21.15107/rcub_raf_938 .

Ignjatović, Aleksandar, "Straddling the National Divide: Appropriated Pasts, Inverted Archaeologies, and Byzantine Architecture in Europe, 1878-1939" in Proceedings of the Fourth International Conference of the European Architectural History Network (2016):333-334,
https://hdl.handle.net/21.15107/rcub_raf_938 .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/947
AB  - Since the beginning of the nineteenth century, many Western European nations have been historicized through a variety of disciplinary regimes—from political and cultural history, to archaeology and architectural history. This happened simultaneously with the construction of what is widely believed to represent a common European cultural identity. The perception and interpretation of Byzantine architecture represents a particularly telling example which simultaneously enforces and questions a supposed cultural divide that still dominates the perception of European cultural borders. Namely, Byzantium remained a commonplace for imagining a non-European otherness usually associated with its cultural inheritors—be they modern-day Turks, Russians or the Orthodox nations of the Balkans. However, the same Byzantine architectural legacy was simultaneously and reversely included in Western European historical imagination, becoming integral part of national heritage and acquiring a range of ideological functions and overtly political resonance.
PB  - Manchester, New Hampshire and Athens, Greece: Hellenic American University
C3  - 1st International Conference Europe in Discourse: Identity, Diversity, Borders : book of Abstracts
T1  - Paradoxes of a Cultural Divide: European Identities and the Appropriation of Byzantine Architecture in the 19 and 20th Century
SP  - 116
EP  - 117
UR  - https://hdl.handle.net/21.15107/rcub_raf_947
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "Since the beginning of the nineteenth century, many Western European nations have been historicized through a variety of disciplinary regimes—from political and cultural history, to archaeology and architectural history. This happened simultaneously with the construction of what is widely believed to represent a common European cultural identity. The perception and interpretation of Byzantine architecture represents a particularly telling example which simultaneously enforces and questions a supposed cultural divide that still dominates the perception of European cultural borders. Namely, Byzantium remained a commonplace for imagining a non-European otherness usually associated with its cultural inheritors—be they modern-day Turks, Russians or the Orthodox nations of the Balkans. However, the same Byzantine architectural legacy was simultaneously and reversely included in Western European historical imagination, becoming integral part of national heritage and acquiring a range of ideological functions and overtly political resonance.",
publisher = "Manchester, New Hampshire and Athens, Greece: Hellenic American University",
journal = "1st International Conference Europe in Discourse: Identity, Diversity, Borders : book of Abstracts",
title = "Paradoxes of a Cultural Divide: European Identities and the Appropriation of Byzantine Architecture in the 19 and 20th Century",
pages = "116-117",
url = "https://hdl.handle.net/21.15107/rcub_raf_947"
}

Ignjatović, A.. (2016). Paradoxes of a Cultural Divide: European Identities and the Appropriation of Byzantine Architecture in the 19 and 20th Century. in 1st International Conference Europe in Discourse: Identity, Diversity, Borders : book of Abstracts
Manchester, New Hampshire and Athens, Greece: Hellenic American University., 116-117.
https://hdl.handle.net/21.15107/rcub_raf_947

Ignjatović A. Paradoxes of a Cultural Divide: European Identities and the Appropriation of Byzantine Architecture in the 19 and 20th Century. in 1st International Conference Europe in Discourse: Identity, Diversity, Borders : book of Abstracts. 2016;:116-117.
https://hdl.handle.net/21.15107/rcub_raf_947 .

Ignjatović, Aleksandar, "Paradoxes of a Cultural Divide: European Identities and the Appropriation of Byzantine Architecture in the 19 and 20th Century" in 1st International Conference Europe in Discourse: Identity, Diversity, Borders : book of Abstracts (2016):116-117,
https://hdl.handle.net/21.15107/rcub_raf_947 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2015
UR  - https://raf.arh.bg.ac.rs/handle/123456789/196
AB  - Arheologija sećanja, predstavlja prvu celovitu studiju o problemu spomenika kao mestu izgradnje i razgradnje spomeničke kulture koja kroz konzistentan i samorefleksivan teorijski fokus postavlja i rešava mnoga važna pitanja iz nekoliko naučnih disciplina, kao što su društvena istorija, kultura sećanja i istorija arhitekture i umetnosti. Međutim, arheologija sećanja posve je simptomatična za teorijski pristup i interpretativni postupak koji predstavlja mnogo više od prigodno sročene i zvučne fraze. Ako je arheologija naučno proučavanje aktivnosti čoveka u prošlosti kroz studiju njegovih artefakata, odnosno materijalne kulture, onda "arheologija sećanja" govori o jednom, esencijalno važnom aspektu u životu ljudi i zajednica koji obično izmiče standardnom fokusu usmerenom na artefakte prošlosti.
PB  - Novi Sad: Matica srpska
T2  - Zbornik Matice srpske za likovne umetnosti
T1  - Olga Manojlović Pintar: Arheologija sećanja: Spomenici i identiteti u Srbiji 1918-1989, Čigoja i Udruženje za društvenu istoriju, Beograd 2014
IS  - 43
SP  - 363
EP  - 365
UR  - https://hdl.handle.net/21.15107/rcub_raf_196
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2015",
abstract = "Arheologija sećanja, predstavlja prvu celovitu studiju o problemu spomenika kao mestu izgradnje i razgradnje spomeničke kulture koja kroz konzistentan i samorefleksivan teorijski fokus postavlja i rešava mnoga važna pitanja iz nekoliko naučnih disciplina, kao što su društvena istorija, kultura sećanja i istorija arhitekture i umetnosti. Međutim, arheologija sećanja posve je simptomatična za teorijski pristup i interpretativni postupak koji predstavlja mnogo više od prigodno sročene i zvučne fraze. Ako je arheologija naučno proučavanje aktivnosti čoveka u prošlosti kroz studiju njegovih artefakata, odnosno materijalne kulture, onda "arheologija sećanja" govori o jednom, esencijalno važnom aspektu u životu ljudi i zajednica koji obično izmiče standardnom fokusu usmerenom na artefakte prošlosti.",
publisher = "Novi Sad: Matica srpska",
journal = "Zbornik Matice srpske za likovne umetnosti",
title = "Olga Manojlović Pintar: Arheologija sećanja: Spomenici i identiteti u Srbiji 1918-1989, Čigoja i Udruženje za društvenu istoriju, Beograd 2014",
number = "43",
pages = "363-365",
url = "https://hdl.handle.net/21.15107/rcub_raf_196"
}

Ignjatović, A.. (2015). Olga Manojlović Pintar: Arheologija sećanja: Spomenici i identiteti u Srbiji 1918-1989, Čigoja i Udruženje za društvenu istoriju, Beograd 2014. in Zbornik Matice srpske za likovne umetnosti
Novi Sad: Matica srpska.(43), 363-365.
https://hdl.handle.net/21.15107/rcub_raf_196

Ignjatović A. Olga Manojlović Pintar: Arheologija sećanja: Spomenici i identiteti u Srbiji 1918-1989, Čigoja i Udruženje za društvenu istoriju, Beograd 2014. in Zbornik Matice srpske za likovne umetnosti. 2015;(43):363-365.
https://hdl.handle.net/21.15107/rcub_raf_196 .

Ignjatović, Aleksandar, "Olga Manojlović Pintar: Arheologija sećanja: Spomenici i identiteti u Srbiji 1918-1989, Čigoja i Udruženje za društvenu istoriju, Beograd 2014" in Zbornik Matice srpske za likovne umetnosti, no. 43 (2015):363-365,
https://hdl.handle.net/21.15107/rcub_raf_196 .

TY  - CHAP
AU  - Ignjatović, Aleksandar
PY  - 2015
UR  - https://raf.arh.bg.ac.rs/handle/123456789/810
AB  - The 1900 Exposition Universelle in Paris, where most of the Christian nation states of the Balkans erected their own national pavilions to resemble what each nation understood as a
Byzantine-related national style, was undoubtedly the most conspicuous example
of a wider cultural and political phenomenon of Byzantinism that had shaped national self-perception and represenation in the nineteenth century. At the Paris World Exhibition, the Byzantinized pavilions of Serbia, Bulgaria, Romania and Greece might be read as constructed images of national identity, with distinct ideological and political functions. Via the “Neo Greek”, “Serbo-Byzantine”, “Bulgarian-Byzantine” or “Romanian-Byzantine” styles, Byzantine architecture became the focus of the Balkan elites who, governed by the already-established patterns of nation-building historiography as well as by Western models of historical interpretation of the past, led the drive to fabricate a distinct image of national culture and to legitimize nationalistic goals and imperialistic expansionist ideologies.
PB  - Paris: L'Harmattan
T2  - Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th Centuries
T1  - Competing Byzantinisms: The Architectural Imaginations of the Balkan Nations at the Paris World Exhibition in 1900
SP  - 107
EP  - 122
UR  - https://hdl.handle.net/21.15107/rcub_raf_810
ER  - 

@inbook{
author = "Ignjatović, Aleksandar",
year = "2015",
abstract = "The 1900 Exposition Universelle in Paris, where most of the Christian nation states of the Balkans erected their own national pavilions to resemble what each nation understood as a
Byzantine-related national style, was undoubtedly the most conspicuous example
of a wider cultural and political phenomenon of Byzantinism that had shaped national self-perception and represenation in the nineteenth century. At the Paris World Exhibition, the Byzantinized pavilions of Serbia, Bulgaria, Romania and Greece might be read as constructed images of national identity, with distinct ideological and political functions. Via the “Neo Greek”, “Serbo-Byzantine”, “Bulgarian-Byzantine” or “Romanian-Byzantine” styles, Byzantine architecture became the focus of the Balkan elites who, governed by the already-established patterns of nation-building historiography as well as by Western models of historical interpretation of the past, led the drive to fabricate a distinct image of national culture and to legitimize nationalistic goals and imperialistic expansionist ideologies.",
publisher = "Paris: L'Harmattan",
journal = "Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th Centuries",
booktitle = "Competing Byzantinisms: The Architectural Imaginations of the Balkan Nations at the Paris World Exhibition in 1900",
pages = "107-122",
url = "https://hdl.handle.net/21.15107/rcub_raf_810"
}

Ignjatović, A.. (2015). Competing Byzantinisms: The Architectural Imaginations of the Balkan Nations at the Paris World Exhibition in 1900. in Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th Centuries
Paris: L'Harmattan., 107-122.
https://hdl.handle.net/21.15107/rcub_raf_810

Ignjatović A. Competing Byzantinisms: The Architectural Imaginations of the Balkan Nations at the Paris World Exhibition in 1900. in Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th Centuries. 2015;:107-122.
https://hdl.handle.net/21.15107/rcub_raf_810 .

Ignjatović, Aleksandar, "Competing Byzantinisms: The Architectural Imaginations of the Balkan Nations at the Paris World Exhibition in 1900" in Ephemeral Architecture in Central-Eastern Europe in the 19th and 20th Centuries (2015):107-122,
https://hdl.handle.net/21.15107/rcub_raf_810 .

TY  - CHAP
AU  - Ignjatović, Aleksandar
PY  - 2014
UR  - https://raf.arh.bg.ac.rs/handle/123456789/811
AB  - Since the beginning of the nineteenth century, European nations have been perennially historicized through a variety of disciplinary regimes — from political and cultural history, to archeology and architectural history. Regardless of the complexity and diversity of changeable political systems and phases of development of particular European nationalisms, national historiographies have had a major role in distinguishing particular national identities according to their distinct historical background and cultural traditions. This phenomenon was based on the controversial and often dubious process of selection and invention of a suitable ‘national’ past, which consequently provided a framework for historicization of different national groups — both synchronically and diachronically. As a result, architectural historiographies throughout Europe have produced a complex system of similarities and dissimilarities between different nations, reinforcing well-established and operational cultural, political, and religious dichotomies that entirely dominate the perception of European nations and national identities today.
PB  - Palgrave Macmillan
T2  - 'Regimes of Historicity' in Southeastern and Northern Europe, 1890-1945
T1  - Byzantium Evolutionized: Architectural History and National Identity in Turn-of-the-Century Serbia
SP  - 254
EP  - 274
DO  - 10.1057/9781137362476
ER  - 

@inbook{
author = "Ignjatović, Aleksandar",
year = "2014",
abstract = "Since the beginning of the nineteenth century, European nations have been perennially historicized through a variety of disciplinary regimes — from political and cultural history, to archeology and architectural history. Regardless of the complexity and diversity of changeable political systems and phases of development of particular European nationalisms, national historiographies have had a major role in distinguishing particular national identities according to their distinct historical background and cultural traditions. This phenomenon was based on the controversial and often dubious process of selection and invention of a suitable ‘national’ past, which consequently provided a framework for historicization of different national groups — both synchronically and diachronically. As a result, architectural historiographies throughout Europe have produced a complex system of similarities and dissimilarities between different nations, reinforcing well-established and operational cultural, political, and religious dichotomies that entirely dominate the perception of European nations and national identities today.",
publisher = "Palgrave Macmillan",
journal = "'Regimes of Historicity' in Southeastern and Northern Europe, 1890-1945",
booktitle = "Byzantium Evolutionized: Architectural History and National Identity in Turn-of-the-Century Serbia",
pages = "254-274",
doi = "10.1057/9781137362476"
}

Ignjatović, A.. (2014). Byzantium Evolutionized: Architectural History and National Identity in Turn-of-the-Century Serbia. in 'Regimes of Historicity' in Southeastern and Northern Europe, 1890-1945
Palgrave Macmillan., 254-274.
https://doi.org/10.1057/9781137362476

Ignjatović A. Byzantium Evolutionized: Architectural History and National Identity in Turn-of-the-Century Serbia. in 'Regimes of Historicity' in Southeastern and Northern Europe, 1890-1945. 2014;:254-274.
doi:10.1057/9781137362476 .

Ignjatović, Aleksandar, "Byzantium Evolutionized: Architectural History and National Identity in Turn-of-the-Century Serbia" in 'Regimes of Historicity' in Southeastern and Northern Europe, 1890-1945 (2014):254-274,
https://doi.org/10.1057/9781137362476 . .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2014
UR  - https://raf.arh.bg.ac.rs/handle/123456789/812
AB  - This article is an interdisciplinary study of the Vidovdan Temple (c. 1906-13), a sculptural-architectural whole that was Ivan Meštrović's most controversial and most widely interpreted work. I analyze visual culture and intellectual history to show how this particular artwork became highly instrumental in creating and strengthening Yugoslavism's primordialist dimension, which sharply marked the South Slavic territories’ political landscape in the decade preceding the first Yugoslav state's creation. Not only did Meštrović's artwork epitomize the idea of a South Slavic primeval unity, dismissing the national distinctiveness of Serbs, Croats, and Slovenes, it also enunciated an emphatic message of South Slavic political unification. By analyzing the Vidovdan Temple's contemporaneous critical reception, I question its classical interpretation as a symbol of Yugoslav multicultural synthesis, arguing for a more contextsensitive and nuanced understanding of the ideology of Yugoslavism.
PB  - Cambridge University Press
T2  - Slavic Review
T1  - Images of the Nation Foreseen: Ivan Meštrović's Vidovdan Temple and Primordial Yugoslavism
VL  - 73
IS  - 4
SP  - 828
EP  - 858
DO  - DOI: https://doi.org/10.5612/slavicreview.73.4.828
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2014",
abstract = "This article is an interdisciplinary study of the Vidovdan Temple (c. 1906-13), a sculptural-architectural whole that was Ivan Meštrović's most controversial and most widely interpreted work. I analyze visual culture and intellectual history to show how this particular artwork became highly instrumental in creating and strengthening Yugoslavism's primordialist dimension, which sharply marked the South Slavic territories’ political landscape in the decade preceding the first Yugoslav state's creation. Not only did Meštrović's artwork epitomize the idea of a South Slavic primeval unity, dismissing the national distinctiveness of Serbs, Croats, and Slovenes, it also enunciated an emphatic message of South Slavic political unification. By analyzing the Vidovdan Temple's contemporaneous critical reception, I question its classical interpretation as a symbol of Yugoslav multicultural synthesis, arguing for a more contextsensitive and nuanced understanding of the ideology of Yugoslavism.",
publisher = "Cambridge University Press",
journal = "Slavic Review",
title = "Images of the Nation Foreseen: Ivan Meštrović's Vidovdan Temple and Primordial Yugoslavism",
volume = "73",
number = "4",
pages = "828-858",
doi = "DOI: https://doi.org/10.5612/slavicreview.73.4.828"
}

Ignjatović, A.. (2014). Images of the Nation Foreseen: Ivan Meštrović's Vidovdan Temple and Primordial Yugoslavism. in Slavic Review
Cambridge University Press., 73(4), 828-858.
https://doi.org/DOI: https://doi.org/10.5612/slavicreview.73.4.828

Ignjatović A. Images of the Nation Foreseen: Ivan Meštrović's Vidovdan Temple and Primordial Yugoslavism. in Slavic Review. 2014;73(4):828-858.
doi:DOI: https://doi.org/10.5612/slavicreview.73.4.828 .

Ignjatović, Aleksandar, "Images of the Nation Foreseen: Ivan Meštrović's Vidovdan Temple and Primordial Yugoslavism" in Slavic Review, 73, no. 4 (2014):828-858,
https://doi.org/DOI: https://doi.org/10.5612/slavicreview.73.4.828 . .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2014
UR  - https://raf.arh.bg.ac.rs/handle/123456789/817
AB  - The complex opus of Bogdan Bogdanović (1922–2010), famous architect and builder of one of Europe’s most intriguing memory sites of the twentieth century, can be understood by a variety of different approaches. The interpretation of numerous memorials of this
enfant terrible of Serbian and Yugoslav culture and politics, by Friedrich Achleitner, offers
an interesting answer to the questions of their poetic, artistic and architectural features, as he ventures on a rather uncertain voyage of formal and poetical commentaries on Bogdanović’s memorials, bot in words and photographs. Nevertheless, whilst describing Bogdanović’s highly metaphorical and ambiguous ways of memorializing war victims by means of gigantic earthworks and sculptural remodelling of the natural landscape, Achleitner offers only a glimpse of the complicated cultural and historical landscape of socialist Yugoslavia.
PB  - London: Modern Humanities Research Association
PB  - School of Slavonic and East European Studies, University College London
T2  - Slavonic and Eastern European Review
T1  - A Flower for the Dead: The Memorials of Bogdan Bogdanović, Achleitner Friedrich
VL  - 92
IS  - 4
SP  - 758
EP  - 760
DO  - 10.5699/slaveasteurorev2.92.4.0758
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2014",
abstract = "The complex opus of Bogdan Bogdanović (1922–2010), famous architect and builder of one of Europe’s most intriguing memory sites of the twentieth century, can be understood by a variety of different approaches. The interpretation of numerous memorials of this
enfant terrible of Serbian and Yugoslav culture and politics, by Friedrich Achleitner, offers
an interesting answer to the questions of their poetic, artistic and architectural features, as he ventures on a rather uncertain voyage of formal and poetical commentaries on Bogdanović’s memorials, bot in words and photographs. Nevertheless, whilst describing Bogdanović’s highly metaphorical and ambiguous ways of memorializing war victims by means of gigantic earthworks and sculptural remodelling of the natural landscape, Achleitner offers only a glimpse of the complicated cultural and historical landscape of socialist Yugoslavia.",
publisher = "London: Modern Humanities Research Association, School of Slavonic and East European Studies, University College London",
journal = "Slavonic and Eastern European Review",
title = "A Flower for the Dead: The Memorials of Bogdan Bogdanović, Achleitner Friedrich",
volume = "92",
number = "4",
pages = "758-760",
doi = "10.5699/slaveasteurorev2.92.4.0758"
}

Ignjatović, A.. (2014). A Flower for the Dead: The Memorials of Bogdan Bogdanović, Achleitner Friedrich. in Slavonic and Eastern European Review
London: Modern Humanities Research Association., 92(4), 758-760.
https://doi.org/10.5699/slaveasteurorev2.92.4.0758

Ignjatović A. A Flower for the Dead: The Memorials of Bogdan Bogdanović, Achleitner Friedrich. in Slavonic and Eastern European Review. 2014;92(4):758-760.
doi:10.5699/slaveasteurorev2.92.4.0758 .

Ignjatović, Aleksandar, "A Flower for the Dead: The Memorials of Bogdan Bogdanović, Achleitner Friedrich" in Slavonic and Eastern European Review, 92, no. 4 (2014):758-760,
https://doi.org/10.5699/slaveasteurorev2.92.4.0758 . .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2014
UR  - https://raf.arh.bg.ac.rs/handle/123456789/948
AB  - Over the course of the nineteenth and twentieth century, there was a sharp discrepancy between the plenitude, diversity and importance of re-imagined and re-used Byzantine architecture and its persistently peripheral status in historiography. This paradox is especially apparent in the context of Byzantine architecture perceived as both a model for, and a precursor of, architectural modernism. A link between Byzantine and modern architecture, based on the ideas of
structural rationalism, tectonics, truthfulness and anti-naturalism, as represented in Neo-Byzantine art and architecture and elaborated by various historians - from John Ruskin and Henri Labrouste to Henry-Russell Hitchcock and Philip Johnson, Roger Fry and Clement Greenberg - is only part of an unexplored kaleidoscopic picture of Byzantium's place in the Western modernist imagination.
PB  - Turin: Politecnico di Torino
C3  - Investigating and writing architectural history : subjects, methodologies and frontiers : papers from the Third EAHN International Meeting, Torino, 2014
T1  - Afterlife of Byzantine Architecture in the Nineteenth and Twentieth Century
SP  - 1007
EP  - 1008
UR  - https://hdl.handle.net/21.15107/rcub_raf_948
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2014",
abstract = "Over the course of the nineteenth and twentieth century, there was a sharp discrepancy between the plenitude, diversity and importance of re-imagined and re-used Byzantine architecture and its persistently peripheral status in historiography. This paradox is especially apparent in the context of Byzantine architecture perceived as both a model for, and a precursor of, architectural modernism. A link between Byzantine and modern architecture, based on the ideas of
structural rationalism, tectonics, truthfulness and anti-naturalism, as represented in Neo-Byzantine art and architecture and elaborated by various historians - from John Ruskin and Henri Labrouste to Henry-Russell Hitchcock and Philip Johnson, Roger Fry and Clement Greenberg - is only part of an unexplored kaleidoscopic picture of Byzantium's place in the Western modernist imagination.",
publisher = "Turin: Politecnico di Torino",
journal = "Investigating and writing architectural history : subjects, methodologies and frontiers : papers from the Third EAHN International Meeting, Torino, 2014",
title = "Afterlife of Byzantine Architecture in the Nineteenth and Twentieth Century",
pages = "1007-1008",
url = "https://hdl.handle.net/21.15107/rcub_raf_948"
}

Ignjatović, A.. (2014). Afterlife of Byzantine Architecture in the Nineteenth and Twentieth Century. in Investigating and writing architectural history : subjects, methodologies and frontiers : papers from the Third EAHN International Meeting, Torino, 2014
Turin: Politecnico di Torino., 1007-1008.
https://hdl.handle.net/21.15107/rcub_raf_948

Ignjatović A. Afterlife of Byzantine Architecture in the Nineteenth and Twentieth Century. in Investigating and writing architectural history : subjects, methodologies and frontiers : papers from the Third EAHN International Meeting, Torino, 2014. 2014;:1007-1008.
https://hdl.handle.net/21.15107/rcub_raf_948 .

Ignjatović, Aleksandar, "Afterlife of Byzantine Architecture in the Nineteenth and Twentieth Century" in Investigating and writing architectural history : subjects, methodologies and frontiers : papers from the Third EAHN International Meeting, Torino, 2014 (2014):1007-1008,
https://hdl.handle.net/21.15107/rcub_raf_948 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2013
UR  - https://raf.arh.bg.ac.rs/handle/123456789/131
AB  - On the rubbles of the Yugoslav ancient regime after World War II, the new Yugoslav state was established as completely different from its predecessor in both political and ideological terms. The new multinational, federal and socialist state was governed by the Communist Party that split with the Cominform in 1948, causing the country to embark on a long-lasting process of forging its own version of socialism. To cast the image of the country and its nations capable of such laborious deeds, the regime needed a culture of representation which facilitated its ideological objectives and was able to reinforce the image of an authentic Yugoslav socialism as a progressive force. Perhaps the most conspicuous example of this elite-imposed and constructed culture, which clearly testifies to various ideological and political roles, is the New Fairground in Belgrade (1953-1957). The new Fairground complex was planned and built on a marshy terrain on the right bank of the Sava River that was considered a 'wasteland.' The transformation of the terrain by filling up the bogs with hundreds of tons of sand has undeniably had an aura of an extremely powerful effort. The technical superiority of the enterprise sounded the metaphor of conquering and taming nature, which otherwise represented one of the key instances of the ideology of Yugoslav socialism. On the other hand, the huge construction of the Fairground commenced to stage a self-indulged and calculatedly constructed image of superiority of socialist Yugoslavia and its tremendously advanced modernization. The prestressed reinforced concrete domes of the new Fairground were designed to span great distances and to show ingeniousness of Yugoslav engineers and architects capable of constructing the largest spans in the world of that time. Not only was the Fairground aimed at beating the size, but also the nature: the whole structure, however, with its sculptured forms and superb technological elements, epitomized the socialist 'triumph over history' and the oblivion of a past that has remained obscure and undesired. Furthermore, by designing and constructing buildings and complexes whose structural features surpassed those of natural forms - like in the simultaneous re-construction of a completely new city of New Belgrade - architecture and engineering of the Belgrade Fairground vividly demonstrated some of the basic ideological underpinnings of Marxism, as re-adopted and re-appropriated by Yugoslav communists in the 1950s. In the outstandingly remarkable political and ideological transition of that time, the Belgrade Fairground almost literally embodied a basic Marxian premise that not only humane Yugoslav socialism and socialist democracy, but also human liberation and development could only be achieved by the transformation of nature, representing the political utopia of Yugoslav socialist humanism as completed naturalism.
AB  - Predmet teksta je analiza odnosa arhitekture Beogradskog sajma (1953-1957) i političke ideologije u kontekstu Jugoslavije 1950-ih godina, koji se posmatra kroz nekoliko različitih i međusobno prožetih instanci. Polazeći od konstitutivne uloge arhitekture u uspostavljanju jugoslovenske socijalističke demokratije, u tekstu se ukazuje na niz funkcija koje je arhitektonsko-graditeljski poduhvat podizanja Beogradskog sajma zadobio u javnom prostoru. Beogradski sajam ukazuje ne samo na značaj arhitekture u legitimaciji političke moći već osvetljava i neke od temeljnih ideoloških postavki na kojima je počivala konstrukcija jugoslovenskog socijalizma kao dovršenog naturalizma zasnovanog na antagonističnom odnosu emancipatorskih strategija i prirodnih granica.
PB  - Matica srpska, Novi Sad
T2  - Zbornik Matice srpske za likovne umetnosti
T1  - Usavršena priroda - Beogradski sajam (1953-1957)
T1  - Perfected nature: The Belgrade fairground (1953-1957)
IS  - 41
SP  - 181
EP  - 203
UR  - https://hdl.handle.net/21.15107/rcub_raf_131
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2013",
abstract = "On the rubbles of the Yugoslav ancient regime after World War II, the new Yugoslav state was established as completely different from its predecessor in both political and ideological terms. The new multinational, federal and socialist state was governed by the Communist Party that split with the Cominform in 1948, causing the country to embark on a long-lasting process of forging its own version of socialism. To cast the image of the country and its nations capable of such laborious deeds, the regime needed a culture of representation which facilitated its ideological objectives and was able to reinforce the image of an authentic Yugoslav socialism as a progressive force. Perhaps the most conspicuous example of this elite-imposed and constructed culture, which clearly testifies to various ideological and political roles, is the New Fairground in Belgrade (1953-1957). The new Fairground complex was planned and built on a marshy terrain on the right bank of the Sava River that was considered a 'wasteland.' The transformation of the terrain by filling up the bogs with hundreds of tons of sand has undeniably had an aura of an extremely powerful effort. The technical superiority of the enterprise sounded the metaphor of conquering and taming nature, which otherwise represented one of the key instances of the ideology of Yugoslav socialism. On the other hand, the huge construction of the Fairground commenced to stage a self-indulged and calculatedly constructed image of superiority of socialist Yugoslavia and its tremendously advanced modernization. The prestressed reinforced concrete domes of the new Fairground were designed to span great distances and to show ingeniousness of Yugoslav engineers and architects capable of constructing the largest spans in the world of that time. Not only was the Fairground aimed at beating the size, but also the nature: the whole structure, however, with its sculptured forms and superb technological elements, epitomized the socialist 'triumph over history' and the oblivion of a past that has remained obscure and undesired. Furthermore, by designing and constructing buildings and complexes whose structural features surpassed those of natural forms - like in the simultaneous re-construction of a completely new city of New Belgrade - architecture and engineering of the Belgrade Fairground vividly demonstrated some of the basic ideological underpinnings of Marxism, as re-adopted and re-appropriated by Yugoslav communists in the 1950s. In the outstandingly remarkable political and ideological transition of that time, the Belgrade Fairground almost literally embodied a basic Marxian premise that not only humane Yugoslav socialism and socialist democracy, but also human liberation and development could only be achieved by the transformation of nature, representing the political utopia of Yugoslav socialist humanism as completed naturalism., Predmet teksta je analiza odnosa arhitekture Beogradskog sajma (1953-1957) i političke ideologije u kontekstu Jugoslavije 1950-ih godina, koji se posmatra kroz nekoliko različitih i međusobno prožetih instanci. Polazeći od konstitutivne uloge arhitekture u uspostavljanju jugoslovenske socijalističke demokratije, u tekstu se ukazuje na niz funkcija koje je arhitektonsko-graditeljski poduhvat podizanja Beogradskog sajma zadobio u javnom prostoru. Beogradski sajam ukazuje ne samo na značaj arhitekture u legitimaciji političke moći već osvetljava i neke od temeljnih ideoloških postavki na kojima je počivala konstrukcija jugoslovenskog socijalizma kao dovršenog naturalizma zasnovanog na antagonističnom odnosu emancipatorskih strategija i prirodnih granica.",
publisher = "Matica srpska, Novi Sad",
journal = "Zbornik Matice srpske za likovne umetnosti",
title = "Usavršena priroda - Beogradski sajam (1953-1957), Perfected nature: The Belgrade fairground (1953-1957)",
number = "41",
pages = "181-203",
url = "https://hdl.handle.net/21.15107/rcub_raf_131"
}

Ignjatović, A.. (2013). Usavršena priroda - Beogradski sajam (1953-1957). in Zbornik Matice srpske za likovne umetnosti
Matica srpska, Novi Sad.(41), 181-203.
https://hdl.handle.net/21.15107/rcub_raf_131

Ignjatović A. Usavršena priroda - Beogradski sajam (1953-1957). in Zbornik Matice srpske za likovne umetnosti. 2013;(41):181-203.
https://hdl.handle.net/21.15107/rcub_raf_131 .

Ignjatović, Aleksandar, "Usavršena priroda - Beogradski sajam (1953-1957)" in Zbornik Matice srpske za likovne umetnosti, no. 41 (2013):181-203,
https://hdl.handle.net/21.15107/rcub_raf_131 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2013
UR  - https://raf.arh.bg.ac.rs/handle/123456789/819
AB  - After the the Second World War, the new socialist Yugoslavia was governed by the Communist Party which split with the Cominform in 1948, causing the country to embark on a long-lasting process of forging its own version of socialism. Architectural culture had a conspicuously important role in the process of cultural legitimization of the new Yugoslav socialist ideology, tailored to fit both the internal "self-government" and the non-alignment international policy of the state. One of the most vivid examples of this newly emerged architectural culture is the Fairground Complex built in Belgrade (1953–1957). While the technical aspects of the project epitomized quite literally the socialist regimes' obsession with conquering and taming nature, which represented the echo of authentic Marxism, the huge construction of the Fairground commenced to stage a self-indulged and calculatedly constructed image of superiority of socialist Yugoslavia and its what the communist elites saw as the tremendously advanced modernization of the country and society.
PB  - New York, N.Y. : Centropa
T2  - Centropa
T1  - Out of the Sands, to Span the Future: The Architectural Image of Yugoslav Socialism in Belgrade
VL  - 13
IS  - 1
SP  - 49
EP  - 63
UR  - https://hdl.handle.net/21.15107/rcub_raf_819
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2013",
abstract = "After the the Second World War, the new socialist Yugoslavia was governed by the Communist Party which split with the Cominform in 1948, causing the country to embark on a long-lasting process of forging its own version of socialism. Architectural culture had a conspicuously important role in the process of cultural legitimization of the new Yugoslav socialist ideology, tailored to fit both the internal "self-government" and the non-alignment international policy of the state. One of the most vivid examples of this newly emerged architectural culture is the Fairground Complex built in Belgrade (1953–1957). While the technical aspects of the project epitomized quite literally the socialist regimes' obsession with conquering and taming nature, which represented the echo of authentic Marxism, the huge construction of the Fairground commenced to stage a self-indulged and calculatedly constructed image of superiority of socialist Yugoslavia and its what the communist elites saw as the tremendously advanced modernization of the country and society.",
publisher = "New York, N.Y. : Centropa",
journal = "Centropa",
title = "Out of the Sands, to Span the Future: The Architectural Image of Yugoslav Socialism in Belgrade",
volume = "13",
number = "1",
pages = "49-63",
url = "https://hdl.handle.net/21.15107/rcub_raf_819"
}

Ignjatović, A.. (2013). Out of the Sands, to Span the Future: The Architectural Image of Yugoslav Socialism in Belgrade. in Centropa
New York, N.Y. : Centropa., 13(1), 49-63.
https://hdl.handle.net/21.15107/rcub_raf_819

Ignjatović A. Out of the Sands, to Span the Future: The Architectural Image of Yugoslav Socialism in Belgrade. in Centropa. 2013;13(1):49-63.
https://hdl.handle.net/21.15107/rcub_raf_819 .

Ignjatović, Aleksandar, "Out of the Sands, to Span the Future: The Architectural Image of Yugoslav Socialism in Belgrade" in Centropa, 13, no. 1 (2013):49-63,
https://hdl.handle.net/21.15107/rcub_raf_819 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
AU  - Manojlović Pintar, Olga
PY  - 2013
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1008
AB  - Muzej ”25. maj”, Muzej savremene umetnosti i Muzej afričke umetnosti, koji su osmišljeni i podignuti u Beogradu u periodu od početka šezdesetih do kraja sedamdesetih godina 20. veka,
predstavljali su paradigmatske primere kreiranja i širenja novog koncepta identiteta u javnom prostoru socijalističke Jugoslavije. Proces društvenog strukturiranja, političke legitimizacije, ali i nacionalne identifikacije je definisan između ostalog i kroz izložbene politike navedenih muzejskih
institucija. Njihov značaj u stvaranju kulturne politike socijalističke Jugoslavije u vreme hladnog rata je svedočio o dinamičnom društvu koje je karakterisala stalna kompeticija brojnih socijalnih, političkih i kulturnih agenata. Različite načine stvaranja i prikazivanja istorijskih narativa prisutne u programskim konceptima muzejskih institucija moguće je sažeti u dve paradigme. Prva, uslovno prepoznata kao: stalnost i dugovečnost, definisala je predstavu izuzetnosti i jedinstvenosti jugoslovenskog društva stvarajući istorijske kontinuitete kroz vreme i prostor. Druga, koja je sažeta u pojmovima: povezivanje i premošćavanje, u javnom prostoru je ideološki i politički objedinjavala i instrumentalizovala različite kulturne i političke realitete. Izlažući selektovano kulturno nasleđe
tri razmatrana muzeja su aktivno učestvovala u ideološkom konstruisanju identiteta i u procesu „uprostoravanja“ političke moći, snažeći viziju jugoslovenskog društva kao jedinstvenog kulturnog i političkog medijatora.
AB  - The article explores the position and role of the three museums conceptualized and built during the
period of socialist Yugoslavia, which greatly influenced the process of collective identity making during the 1960s and 1970s.
PB  - Beograd: Institut za noviju istoriju Srbije
T2  - Tokovi istorije : časopis Instituta za noviju istoriju Srbije = Currents of history : journal of the Institute for recent history of Serbia
T1  - Catalysts of Intricate Identities: Three Belgrade Museums in Socialist Yugoslavia
VL  - 2
SP  - 247
EP  - 264
UR  - https://hdl.handle.net/21.15107/rcub_raf_1008
ER  - 

@article{
author = "Ignjatović, Aleksandar and Manojlović Pintar, Olga",
year = "2013",
abstract = "Muzej ”25. maj”, Muzej savremene umetnosti i Muzej afričke umetnosti, koji su osmišljeni i podignuti u Beogradu u periodu od početka šezdesetih do kraja sedamdesetih godina 20. veka,
predstavljali su paradigmatske primere kreiranja i širenja novog koncepta identiteta u javnom prostoru socijalističke Jugoslavije. Proces društvenog strukturiranja, političke legitimizacije, ali i nacionalne identifikacije je definisan između ostalog i kroz izložbene politike navedenih muzejskih
institucija. Njihov značaj u stvaranju kulturne politike socijalističke Jugoslavije u vreme hladnog rata je svedočio o dinamičnom društvu koje je karakterisala stalna kompeticija brojnih socijalnih, političkih i kulturnih agenata. Različite načine stvaranja i prikazivanja istorijskih narativa prisutne u programskim konceptima muzejskih institucija moguće je sažeti u dve paradigme. Prva, uslovno prepoznata kao: stalnost i dugovečnost, definisala je predstavu izuzetnosti i jedinstvenosti jugoslovenskog društva stvarajući istorijske kontinuitete kroz vreme i prostor. Druga, koja je sažeta u pojmovima: povezivanje i premošćavanje, u javnom prostoru je ideološki i politički objedinjavala i instrumentalizovala različite kulturne i političke realitete. Izlažući selektovano kulturno nasleđe
tri razmatrana muzeja su aktivno učestvovala u ideološkom konstruisanju identiteta i u procesu „uprostoravanja“ političke moći, snažeći viziju jugoslovenskog društva kao jedinstvenog kulturnog i političkog medijatora., The article explores the position and role of the three museums conceptualized and built during the
period of socialist Yugoslavia, which greatly influenced the process of collective identity making during the 1960s and 1970s.",
publisher = "Beograd: Institut za noviju istoriju Srbije",
journal = "Tokovi istorije : časopis Instituta za noviju istoriju Srbije = Currents of history : journal of the Institute for recent history of Serbia",
title = "Catalysts of Intricate Identities: Three Belgrade Museums in Socialist Yugoslavia",
volume = "2",
pages = "247-264",
url = "https://hdl.handle.net/21.15107/rcub_raf_1008"
}

Ignjatović, A.,& Manojlović Pintar, O.. (2013). Catalysts of Intricate Identities: Three Belgrade Museums in Socialist Yugoslavia. in Tokovi istorije : časopis Instituta za noviju istoriju Srbije = Currents of history : journal of the Institute for recent history of Serbia
Beograd: Institut za noviju istoriju Srbije., 2, 247-264.
https://hdl.handle.net/21.15107/rcub_raf_1008

Ignjatović A, Manojlović Pintar O. Catalysts of Intricate Identities: Three Belgrade Museums in Socialist Yugoslavia. in Tokovi istorije : časopis Instituta za noviju istoriju Srbije = Currents of history : journal of the Institute for recent history of Serbia. 2013;2:247-264.
https://hdl.handle.net/21.15107/rcub_raf_1008 .

Ignjatović, Aleksandar, Manojlović Pintar, Olga, "Catalysts of Intricate Identities: Three Belgrade Museums in Socialist Yugoslavia" in Tokovi istorije : časopis Instituta za noviju istoriju Srbije = Currents of history : journal of the Institute for recent history of Serbia, 2 (2013):247-264,
https://hdl.handle.net/21.15107/rcub_raf_1008 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2013
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1020
AB  - Rad razmatra na koji način su se različiti ideološki sistemi uprostoravali kroz arhitektonsku predstavu kule u istorijskom centru Beogradu.  Fokus predstavljaju dva solitera podignuta duž središnje saobraćajne, komercijalne i urbane arterije — Palata "Albanija" (1938-1939) i Palata "Beograd" (1969-1974). Obe građevine predsvaljaju fascinantan primer složenog procesa ideološke konstrukcije različitih kolektivnih identiteta koji se bazira na sličnim mehanizmima kulturne opozicije, razlike i reprezentacije.
PB  - Beograd : Univerzitet u Beogradu - Filozofski fakultet
T2  - Zbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradu = The Journal of Modern Art History Department Faculty of Philosophy University of Belgrade
T1  - Dve kule: uspon, hibris i pad
IS  - 9
SP  - 29
EP  - 38
UR  - https://hdl.handle.net/21.15107/rcub_raf_1020
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2013",
abstract = "Rad razmatra na koji način su se različiti ideološki sistemi uprostoravali kroz arhitektonsku predstavu kule u istorijskom centru Beogradu.  Fokus predstavljaju dva solitera podignuta duž središnje saobraćajne, komercijalne i urbane arterije — Palata "Albanija" (1938-1939) i Palata "Beograd" (1969-1974). Obe građevine predsvaljaju fascinantan primer složenog procesa ideološke konstrukcije različitih kolektivnih identiteta koji se bazira na sličnim mehanizmima kulturne opozicije, razlike i reprezentacije.",
publisher = "Beograd : Univerzitet u Beogradu - Filozofski fakultet",
journal = "Zbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradu = The Journal of Modern Art History Department Faculty of Philosophy University of Belgrade",
title = "Dve kule: uspon, hibris i pad",
number = "9",
pages = "29-38",
url = "https://hdl.handle.net/21.15107/rcub_raf_1020"
}

Ignjatović, A.. (2013). Dve kule: uspon, hibris i pad. in Zbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradu = The Journal of Modern Art History Department Faculty of Philosophy University of Belgrade
Beograd : Univerzitet u Beogradu - Filozofski fakultet.(9), 29-38.
https://hdl.handle.net/21.15107/rcub_raf_1020

Ignjatović A. Dve kule: uspon, hibris i pad. in Zbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradu = The Journal of Modern Art History Department Faculty of Philosophy University of Belgrade. 2013;(9):29-38.
https://hdl.handle.net/21.15107/rcub_raf_1020 .

Ignjatović, Aleksandar, "Dve kule: uspon, hibris i pad" in Zbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradu = The Journal of Modern Art History Department Faculty of Philosophy University of Belgrade, no. 9 (2013):29-38,
https://hdl.handle.net/21.15107/rcub_raf_1020 .

TY  - CHAP
AU  - Ignjatović, Aleksandar
AU  - Manojlović Pintar, Olga
PY  - 2012
UR  - https://raf.arh.bg.ac.rs/handle/123456789/878
AB  - “Places of memory” ― places that create and articulate meanings of the past, represent formative issue of collective memory and identity building processes. These places encounter diverse discourses, which reflect different perceptions of historical events, personalities and phenomena, being a substantive matter of ideological narratives, patterns of value systems and political practices in the society. Among great number of remarkable topics that could be designated as “places of memory” ― from historical data, celebrations and commemorations, monuments, prominent artifacts set in public, historical or mythical figures; to sport clubs and societies, food, entertainment and festivities ― among all these subjects, museums are basic elements in “spatialization” of ideologies and political projects. That is the reason why analysis of museums, their conceptual framework, exhibition policies and, above all, their contextual references, represent a key for understanding complex processes of identification that characterize contemporary societies.
	To focus the Belgrade museums as particular case study of historical culture in Serbia, enables thorough a survey of both interpretations and evaluations of historical and cultural heritage, Yugoslav experiences, tradition of wars, rebels and uprisings, and so on. It is likely that ubiquitous deficiency of permanent exhibitions in majority of Belgrade museums represents symptomatic feature of prevailing concept of identity in Serbia, which still lacks rational relations with historical discourses. Such analysis reveals historical controversies and inefficient attempts for their understanding and overcoming. Finally, it is important to trace and display the reasons why Belgrade museums have failed to exercise and govern process of constructing a consensual image of the past, to recognize and promote the art of interpretation, as well as of a dialogue that surely represents the basic issue of multicultural and multi directional identity in any contemporary society.
PB  - Athens: Kaleidoscope
T2  - Εθνικά Μουσεία στη Νότια Ευρώπι: Ιστορία και προοπτικές
T1  - Τα μουσεία και η δημιουργία της εθνικής ταυτότητας στη Σερβία
SP  - 126
EP  - 145
UR  - https://hdl.handle.net/21.15107/rcub_raf_878
ER  - 

@inbook{
author = "Ignjatović, Aleksandar and Manojlović Pintar, Olga",
year = "2012",
abstract = "“Places of memory” ― places that create and articulate meanings of the past, represent formative issue of collective memory and identity building processes. These places encounter diverse discourses, which reflect different perceptions of historical events, personalities and phenomena, being a substantive matter of ideological narratives, patterns of value systems and political practices in the society. Among great number of remarkable topics that could be designated as “places of memory” ― from historical data, celebrations and commemorations, monuments, prominent artifacts set in public, historical or mythical figures; to sport clubs and societies, food, entertainment and festivities ― among all these subjects, museums are basic elements in “spatialization” of ideologies and political projects. That is the reason why analysis of museums, their conceptual framework, exhibition policies and, above all, their contextual references, represent a key for understanding complex processes of identification that characterize contemporary societies.
	To focus the Belgrade museums as particular case study of historical culture in Serbia, enables thorough a survey of both interpretations and evaluations of historical and cultural heritage, Yugoslav experiences, tradition of wars, rebels and uprisings, and so on. It is likely that ubiquitous deficiency of permanent exhibitions in majority of Belgrade museums represents symptomatic feature of prevailing concept of identity in Serbia, which still lacks rational relations with historical discourses. Such analysis reveals historical controversies and inefficient attempts for their understanding and overcoming. Finally, it is important to trace and display the reasons why Belgrade museums have failed to exercise and govern process of constructing a consensual image of the past, to recognize and promote the art of interpretation, as well as of a dialogue that surely represents the basic issue of multicultural and multi directional identity in any contemporary society.",
publisher = "Athens: Kaleidoscope",
journal = "Εθνικά Μουσεία στη Νότια Ευρώπι: Ιστορία και προοπτικές",
booktitle = "Τα μουσεία και η δημιουργία της εθνικής ταυτότητας στη Σερβία",
pages = "126-145",
url = "https://hdl.handle.net/21.15107/rcub_raf_878"
}

Ignjatović, A.,& Manojlović Pintar, O.. (2012). Τα μουσεία και η δημιουργία της εθνικής ταυτότητας στη Σερβία. in Εθνικά Μουσεία στη Νότια Ευρώπι: Ιστορία και προοπτικές
Athens: Kaleidoscope., 126-145.
https://hdl.handle.net/21.15107/rcub_raf_878

Ignjatović A, Manojlović Pintar O. Τα μουσεία και η δημιουργία της εθνικής ταυτότητας στη Σερβία. in Εθνικά Μουσεία στη Νότια Ευρώπι: Ιστορία και προοπτικές. 2012;:126-145.
https://hdl.handle.net/21.15107/rcub_raf_878 .

Ignjatović, Aleksandar, Manojlović Pintar, Olga, "Τα μουσεία και η δημιουργία της εθνικής ταυτότητας στη Σερβία" in Εθνικά Μουσεία στη Νότια Ευρώπι: Ιστορία και προοπτικές (2012):126-145,
https://hdl.handle.net/21.15107/rcub_raf_878 .