TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2024
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1999
AB  - In the period between the proclamation of royal dictatorship and the assassination of King Alexander I, the Kingdom of Yugoslavia was characterised by the dynamics of competing visions of Yugoslavism. Questions concerning the identity of a Yugoslav nation-to-be, in terms of both national unity and diversity of Serbs, Croats and Slovenes, were held not only in political discourse, but also through architecture and the visual culture. This article explores the ideological roles of the Bridge of King Alexander I, built between 1929 and 1934 to connect Belgrade with the ex-Habsburg town of Zemun, which carried not only heavy transport but also powerful political messages. The bridge’s construction prompted a widespread public controversy, representing a vivid testimony to rivalries, tensions and discontents between different ideas about the Yugoslav nation, underpinned by both political and professional agendas.
PB  - Cambridge University Press
T2  - Contemporary European History
T1  - The Bridge of King Alexander I in Belgrade and the Ambiguities of National Identity in Interwar Yugoslavia
VL  - 33
IS  - 1
SP  - 212
EP  - 232
DO  - 10.1017/S0960777322000066
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2024",
abstract = "In the period between the proclamation of royal dictatorship and the assassination of King Alexander I, the Kingdom of Yugoslavia was characterised by the dynamics of competing visions of Yugoslavism. Questions concerning the identity of a Yugoslav nation-to-be, in terms of both national unity and diversity of Serbs, Croats and Slovenes, were held not only in political discourse, but also through architecture and the visual culture. This article explores the ideological roles of the Bridge of King Alexander I, built between 1929 and 1934 to connect Belgrade with the ex-Habsburg town of Zemun, which carried not only heavy transport but also powerful political messages. The bridge’s construction prompted a widespread public controversy, representing a vivid testimony to rivalries, tensions and discontents between different ideas about the Yugoslav nation, underpinned by both political and professional agendas.",
publisher = "Cambridge University Press",
journal = "Contemporary European History",
title = "The Bridge of King Alexander I in Belgrade and the Ambiguities of National Identity in Interwar Yugoslavia",
volume = "33",
number = "1",
pages = "212-232",
doi = "10.1017/S0960777322000066"
}

Ignjatović, A.. (2024). The Bridge of King Alexander I in Belgrade and the Ambiguities of National Identity in Interwar Yugoslavia. in Contemporary European History
Cambridge University Press., 33(1), 212-232.
https://doi.org/10.1017/S0960777322000066

Ignjatović A. The Bridge of King Alexander I in Belgrade and the Ambiguities of National Identity in Interwar Yugoslavia. in Contemporary European History. 2024;33(1):212-232.
doi:10.1017/S0960777322000066 .

Ignjatović, Aleksandar, "The Bridge of King Alexander I in Belgrade and the Ambiguities of National Identity in Interwar Yugoslavia" in Contemporary European History, 33, no. 1 (2024):212-232,
https://doi.org/10.1017/S0960777322000066 . .

TY  - CONF
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1043
AB  - Unlike most of the post-WWI newly established and old nation-states, the multiethnic Kingdom of Serbs, Croats and Slovenes (from 1929 the Kingdom of Yugoslavia) had its own ideological raison d'être in the idea of a simultaneously composite and primordial nation. The ideology of primordial Yugoslavism was a complex set of ideas referring to the multiethnic community of Yugoslavs — sharply divided not only by culture, but also by the experience in the Great War — seeking a cohesive national culture. The idea of a single, primordial nation, united by common descent and future prospects, was based on the mythologization of the people's original unity, as well as obliteration of cultural, religious and, most importantly, political differences. In this respect, the symbolic legacy of classicism had much to offer for the cultural imagination of Yugoslavism. The examples include: Roman Verhovskoj's Monument and Crypt to the Defenders of Belgrade (1931), the nearby Memorial to the Russian Soldiers fallen in the war (1934), Ivan Meštrović's Tomb of the Unknown Soldier on avala near belgrade (1934-1938) and Edvard Ravnikar's Ossuary of War Victims (1937-1939) in Ljubljana.
PB  - Ljubljana : Department of Art History, Faculty of Arts, University of Ljubljana
C3  - Yugoslav monuments associated with the First World War : (1918-1941) : symposium, [Moderna galerija], Ljubljana, 18-19 October 2018
T1  - Yugoslavism through the Syntax of Classicism: WWI Memorials in Belgrade and Ljubljana, 1931-1939
SP  - 32
EP  - 33
UR  - https://hdl.handle.net/21.15107/rcub_raf_1043
ER  - 

@conference{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "Unlike most of the post-WWI newly established and old nation-states, the multiethnic Kingdom of Serbs, Croats and Slovenes (from 1929 the Kingdom of Yugoslavia) had its own ideological raison d'être in the idea of a simultaneously composite and primordial nation. The ideology of primordial Yugoslavism was a complex set of ideas referring to the multiethnic community of Yugoslavs — sharply divided not only by culture, but also by the experience in the Great War — seeking a cohesive national culture. The idea of a single, primordial nation, united by common descent and future prospects, was based on the mythologization of the people's original unity, as well as obliteration of cultural, religious and, most importantly, political differences. In this respect, the symbolic legacy of classicism had much to offer for the cultural imagination of Yugoslavism. The examples include: Roman Verhovskoj's Monument and Crypt to the Defenders of Belgrade (1931), the nearby Memorial to the Russian Soldiers fallen in the war (1934), Ivan Meštrović's Tomb of the Unknown Soldier on avala near belgrade (1934-1938) and Edvard Ravnikar's Ossuary of War Victims (1937-1939) in Ljubljana.",
publisher = "Ljubljana : Department of Art History, Faculty of Arts, University of Ljubljana",
journal = "Yugoslav monuments associated with the First World War : (1918-1941) : symposium, [Moderna galerija], Ljubljana, 18-19 October 2018",
title = "Yugoslavism through the Syntax of Classicism: WWI Memorials in Belgrade and Ljubljana, 1931-1939",
pages = "32-33",
url = "https://hdl.handle.net/21.15107/rcub_raf_1043"
}

Ignjatović, A.. (2018). Yugoslavism through the Syntax of Classicism: WWI Memorials in Belgrade and Ljubljana, 1931-1939. in Yugoslav monuments associated with the First World War : (1918-1941) : symposium, [Moderna galerija], Ljubljana, 18-19 October 2018
Ljubljana : Department of Art History, Faculty of Arts, University of Ljubljana., 32-33.
https://hdl.handle.net/21.15107/rcub_raf_1043

Ignjatović A. Yugoslavism through the Syntax of Classicism: WWI Memorials in Belgrade and Ljubljana, 1931-1939. in Yugoslav monuments associated with the First World War : (1918-1941) : symposium, [Moderna galerija], Ljubljana, 18-19 October 2018. 2018;:32-33.
https://hdl.handle.net/21.15107/rcub_raf_1043 .

Ignjatović, Aleksandar, "Yugoslavism through the Syntax of Classicism: WWI Memorials in Belgrade and Ljubljana, 1931-1939" in Yugoslav monuments associated with the First World War : (1918-1941) : symposium, [Moderna galerija], Ljubljana, 18-19 October 2018 (2018):32-33,
https://hdl.handle.net/21.15107/rcub_raf_1043 .

TY  - CHAP
AU  - Ignjatović, Aleksandar
PY  - 2015
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1031
AB  - Duga tradicija tumačenja pejzaža Jovana Bijelića, koji su tematski vezani za Bosnu označila ih je kao nostalgične ali sasvim arbitrarne konstrukcije realnosti, kao plod umetnikove personalne imaginacije. Noseći u sebi tobože samu srž identiteta sopstvenog zavičaja, Bijelić je ostao upisan u dvostruki stereotip o autonomnom slobodnom stvaraocu i čoveku vezanom za svoje izvorno podneblje, svojevrsnom bosanskom Anteju koji je u intimnom dosluhu sa neobjašnjivim, ali autentičnim nasleđem Bosne. Međutim, Bijelićeva vizija nipošto nije predstavljala samo plod lične uobrazilje, niti samo zgodan interpretativan obrazac za kritičare, već se podudarala sa mnogo širom kulturološkom konstrukcijom Bosne u složenom političkom kontekstu Kraljevine Jugoslavije. Upravo se takva „imaginarna” Bosna — ka svojevrsna politička utvara, imaginarna teritorije čije je permanentno odsustvo iz političkog diskursa bilo nadomešteno njenim različitim kulturološkim predstavama — nalazila u srži Bijelićeve poetske imaginacije. Istovremeno, njegovi predeli zasićeni arhitekturom elementarnih oblika, obavijenoj atmosferom naglašene arhaičnosti u kolorističkoj simbiozi s prirodom, predstavljali su sastavni deo proizvođenja ideološki složenog i politički instrumentalnog mita o Bosni u kome su se preplitali primordijalnost, autohtonost i nepromenljivost; nesvodljivost na realne političke granice i etničke identitete; zamagljivanje prošlosti i stvarnosti društvenog života te isticanje sublimne i permanentne prirodnosti naspram artificijelne i nestalne istoričnosti.
PB  - Нови Сад : Галерија Матице српске
T2  - Јован Бијелић : (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника
T1  - U zemlji uobrazilje: Bosanski pejzaži Jovana Bijelića 1929-1941
SP  - 82
EP  - 90
UR  - https://hdl.handle.net/21.15107/rcub_raf_1031
ER  - 

@inbook{
author = "Ignjatović, Aleksandar",
year = "2015",
abstract = "Duga tradicija tumačenja pejzaža Jovana Bijelića, koji su tematski vezani za Bosnu označila ih je kao nostalgične ali sasvim arbitrarne konstrukcije realnosti, kao plod umetnikove personalne imaginacije. Noseći u sebi tobože samu srž identiteta sopstvenog zavičaja, Bijelić je ostao upisan u dvostruki stereotip o autonomnom slobodnom stvaraocu i čoveku vezanom za svoje izvorno podneblje, svojevrsnom bosanskom Anteju koji je u intimnom dosluhu sa neobjašnjivim, ali autentičnim nasleđem Bosne. Međutim, Bijelićeva vizija nipošto nije predstavljala samo plod lične uobrazilje, niti samo zgodan interpretativan obrazac za kritičare, već se podudarala sa mnogo širom kulturološkom konstrukcijom Bosne u složenom političkom kontekstu Kraljevine Jugoslavije. Upravo se takva „imaginarna” Bosna — ka svojevrsna politička utvara, imaginarna teritorije čije je permanentno odsustvo iz političkog diskursa bilo nadomešteno njenim različitim kulturološkim predstavama — nalazila u srži Bijelićeve poetske imaginacije. Istovremeno, njegovi predeli zasićeni arhitekturom elementarnih oblika, obavijenoj atmosferom naglašene arhaičnosti u kolorističkoj simbiozi s prirodom, predstavljali su sastavni deo proizvođenja ideološki složenog i politički instrumentalnog mita o Bosni u kome su se preplitali primordijalnost, autohtonost i nepromenljivost; nesvodljivost na realne političke granice i etničke identitete; zamagljivanje prošlosti i stvarnosti društvenog života te isticanje sublimne i permanentne prirodnosti naspram artificijelne i nestalne istoričnosti.",
publisher = "Нови Сад : Галерија Матице српске",
journal = "Јован Бијелић : (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника",
booktitle = "U zemlji uobrazilje: Bosanski pejzaži Jovana Bijelića 1929-1941",
pages = "82-90",
url = "https://hdl.handle.net/21.15107/rcub_raf_1031"
}

Ignjatović, A.. (2015). U zemlji uobrazilje: Bosanski pejzaži Jovana Bijelića 1929-1941. in Јован Бијелић : (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника
Нови Сад : Галерија Матице српске., 82-90.
https://hdl.handle.net/21.15107/rcub_raf_1031

Ignjatović A. U zemlji uobrazilje: Bosanski pejzaži Jovana Bijelića 1929-1941. in Јован Бијелић : (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника. 2015;:82-90.
https://hdl.handle.net/21.15107/rcub_raf_1031 .

Ignjatović, Aleksandar, "U zemlji uobrazilje: Bosanski pejzaži Jovana Bijelića 1929-1941" in Јован Бијелић : (1884-1964) : зборник радова поводом обележавања педесете годишњице од смрти уметника (2015):82-90,
https://hdl.handle.net/21.15107/rcub_raf_1031 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2010
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1030
AB  - The review of ten books on art history issued in Serbia between 2006-2008.
PB  - New York : Centropa
T2  - Centropa
T1  - Ten Reports on Recent Serbian Art Books
VL  - 10
IS  - 2
SP  - 182
EP  - 184
UR  - https://hdl.handle.net/21.15107/rcub_raf_1030
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2010",
abstract = "The review of ten books on art history issued in Serbia between 2006-2008.",
publisher = "New York : Centropa",
journal = "Centropa",
title = "Ten Reports on Recent Serbian Art Books",
volume = "10",
number = "2",
pages = "182-184",
url = "https://hdl.handle.net/21.15107/rcub_raf_1030"
}

Ignjatović, A.. (2010). Ten Reports on Recent Serbian Art Books. in Centropa
New York : Centropa., 10(2), 182-184.
https://hdl.handle.net/21.15107/rcub_raf_1030

Ignjatović A. Ten Reports on Recent Serbian Art Books. in Centropa. 2010;10(2):182-184.
https://hdl.handle.net/21.15107/rcub_raf_1030 .

Ignjatović, Aleksandar, "Ten Reports on Recent Serbian Art Books" in Centropa, 10, no. 2 (2010):182-184,
https://hdl.handle.net/21.15107/rcub_raf_1030 .