TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1091
AB  - Једна од најутицајнијих синтетичких студија о архитектури средњовековне Србије написаних након Другог светског рата
несумњиво је монографија Александра Дерока Монументална и декоративна архитектура у средњовековној Србији. Објављена у три сукцесивна
издања (1953, 1962, 1985), Дерокова књига представља не само особени
историографски подухват већ наратив који упадљиво осликава неке од
важних преокупација српске архитектонске историографије у социјалистичкој Југославији. Њен изванакадемски значај у свему је превазилазио научне доприносе и може се сагледати у контексту југословенске
федерализације, где се једино може разумети њена епистемолошка и
идеолошка релевантност. Овај рад приказује други део истраживања
дела Александра Дерока, у којима је истовремено прихваћен и нарушен
принцип југословенске федералистичке компетенције. Рад указује да таква амбивалентна политика историје, чија се динамика може пратити
путем разлика у појединим издањима Монументалне и декоративне архитектуре, сведочи о кључном значају идеолошког потенцијала споменика
из прошлости за истовремену легитимацију и критику федералистичке
парадигме као трајном обележју националног дискурса у социјалистичкој
Југославији.
AB  - Pressed by Federalization: Alexander Deroko and
the History of Architecture in Medieval Serbia

There is no doubt that one of the most influential synthetic works of Serbian architectural
history written after WWII is Monumentalna i dekorativna arhitektura u srednjovekovnoj
Srbiji (Monumental and Decorative Architecture in Medieval Serbia). Its three successive
editions (1953, 1962, 1985) represent not only a historiographical enterprise of kinds, but
also a narrative which conspicuously demonstrates some of the preoccupations of Serbian
architectural history in socialist Yugoslavia. The real effect of Deroko’s monograph can
only be understood in a wider social and ideological context of the 1950s-1980s, in which
medieval monuments were appropriated, becoming closely interrelated with the questions of
the Yugoslav nations’ historicity and identity. This article is a second part of the study which
explores how Deroko’s own work, as part of Serbian architectural historiography, became
simultaneously adapted to and dissent from the principle of federalist competence. It is only
through the comprehension of slight differences in various editions of Monumentalna i dekorativna arhitektura that one can apprehend the key ideological importance of medieval
monuments both for cultural legitimization and delegitimization of the federalist paradigm,
which otherwise sharply marked the national question in socialist Yugoslavia
PB  - Filozofski fakultet Univerziteta u Beogradu
PB  - Udruženje za društvenu istoriju
T2  - Godišnjak za društvenu istoriju
T1  - U stegama federalizacije: Aleksandar Deroko i istorija arhitekture u srednjovekovnoj Srbiji
T1  - Pressed by Federalization: Alexander Deroko and the History of Architecture in Medieval Serbia (second part)
VL  - 26
IS  - 2
UR  - https://hdl.handle.net/21.15107/rcub_raf_1091
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2019",
abstract = "Једна од најутицајнијих синтетичких студија о архитектури средњовековне Србије написаних након Другог светског рата
несумњиво је монографија Александра Дерока Монументална и декоративна архитектура у средњовековној Србији. Објављена у три сукцесивна
издања (1953, 1962, 1985), Дерокова књига представља не само особени
историографски подухват већ наратив који упадљиво осликава неке од
важних преокупација српске архитектонске историографије у социјалистичкој Југославији. Њен изванакадемски значај у свему је превазилазио научне доприносе и може се сагледати у контексту југословенске
федерализације, где се једино може разумети њена епистемолошка и
идеолошка релевантност. Овај рад приказује други део истраживања
дела Александра Дерока, у којима је истовремено прихваћен и нарушен
принцип југословенске федералистичке компетенције. Рад указује да таква амбивалентна политика историје, чија се динамика може пратити
путем разлика у појединим издањима Монументалне и декоративне архитектуре, сведочи о кључном значају идеолошког потенцијала споменика
из прошлости за истовремену легитимацију и критику федералистичке
парадигме као трајном обележју националног дискурса у социјалистичкој
Југославији., Pressed by Federalization: Alexander Deroko and
the History of Architecture in Medieval Serbia

There is no doubt that one of the most influential synthetic works of Serbian architectural
history written after WWII is Monumentalna i dekorativna arhitektura u srednjovekovnoj
Srbiji (Monumental and Decorative Architecture in Medieval Serbia). Its three successive
editions (1953, 1962, 1985) represent not only a historiographical enterprise of kinds, but
also a narrative which conspicuously demonstrates some of the preoccupations of Serbian
architectural history in socialist Yugoslavia. The real effect of Deroko’s monograph can
only be understood in a wider social and ideological context of the 1950s-1980s, in which
medieval monuments were appropriated, becoming closely interrelated with the questions of
the Yugoslav nations’ historicity and identity. This article is a second part of the study which
explores how Deroko’s own work, as part of Serbian architectural historiography, became
simultaneously adapted to and dissent from the principle of federalist competence. It is only
through the comprehension of slight differences in various editions of Monumentalna i dekorativna arhitektura that one can apprehend the key ideological importance of medieval
monuments both for cultural legitimization and delegitimization of the federalist paradigm,
which otherwise sharply marked the national question in socialist Yugoslavia",
publisher = "Filozofski fakultet Univerziteta u Beogradu, Udruženje za društvenu istoriju",
journal = "Godišnjak za društvenu istoriju",
title = "U stegama federalizacije: Aleksandar Deroko i istorija arhitekture u srednjovekovnoj Srbiji, Pressed by Federalization: Alexander Deroko and the History of Architecture in Medieval Serbia (second part)",
volume = "26",
number = "2",
url = "https://hdl.handle.net/21.15107/rcub_raf_1091"
}

Ignjatović, A.. (2019). U stegama federalizacije: Aleksandar Deroko i istorija arhitekture u srednjovekovnoj Srbiji. in Godišnjak za društvenu istoriju
Filozofski fakultet Univerziteta u Beogradu., 26(2).
https://hdl.handle.net/21.15107/rcub_raf_1091

Ignjatović A. U stegama federalizacije: Aleksandar Deroko i istorija arhitekture u srednjovekovnoj Srbiji. in Godišnjak za društvenu istoriju. 2019;26(2).
https://hdl.handle.net/21.15107/rcub_raf_1091 .

Ignjatović, Aleksandar, "U stegama federalizacije: Aleksandar Deroko i istorija arhitekture u srednjovekovnoj Srbiji" in Godišnjak za društvenu istoriju, 26, no. 2 (2019),
https://hdl.handle.net/21.15107/rcub_raf_1091 .

TY  - BOOK
AU  - Cvetić, Mariela
AU  - Čubrilo, Jasmina
PY  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1994
AB  - Knjiga ”O razmeri: monumentalizovanje minijaturnog” je zajednički projekat dr Mariele Cvetić, redovne profesorke Arhitektonskog fakulteta u Beogradu i dr Jasmine Čubrilo, redovne profesorke Filozofskog fakulteta u Beogradu. Кnjiga je zamišljena kao istorijsko umetnička i teorijska rasprava o umetničkom projektu ”Svet po meni” koji je Mariela Cvetić prvi put predstavila u Galeriji Кulturnog centra Beograd 2013. godine. Postavka je bila realizovana u mediju instalacije koja je sadržala uvećani model kuće za lutke u razmeri 1:12. Кasnija izlaganja su sadžala i fotografije, projekcije i objekte. Кnjiga je nastavak ovog projekta.
Publikacija sadrži tekstove autorki i fotografije projekta. Кao takva, knjiga jeste interdisciplinarna naučna analiza umetničkih praksi Mariele Cvetić a u  širem smislu reč je o interdisciplinarnoj raspravi o problemima savremene umetnosti, odnosno prepletima vizuelnih umetnosti, arhitekture i savremene teorije umetnosti.
PB  - Univerzitet u Beogradu - Arhitektonski fakultet
T1  - O razmeri : monumentalizovanje minijaturnog
UR  - https://hdl.handle.net/21.15107/rcub_raf_1994
ER  - 

@book{
author = "Cvetić, Mariela and Čubrilo, Jasmina",
year = "2019",
abstract = "Knjiga ”O razmeri: monumentalizovanje minijaturnog” je zajednički projekat dr Mariele Cvetić, redovne profesorke Arhitektonskog fakulteta u Beogradu i dr Jasmine Čubrilo, redovne profesorke Filozofskog fakulteta u Beogradu. Кnjiga je zamišljena kao istorijsko umetnička i teorijska rasprava o umetničkom projektu ”Svet po meni” koji je Mariela Cvetić prvi put predstavila u Galeriji Кulturnog centra Beograd 2013. godine. Postavka je bila realizovana u mediju instalacije koja je sadržala uvećani model kuće za lutke u razmeri 1:12. Кasnija izlaganja su sadžala i fotografije, projekcije i objekte. Кnjiga je nastavak ovog projekta.
Publikacija sadrži tekstove autorki i fotografije projekta. Кao takva, knjiga jeste interdisciplinarna naučna analiza umetničkih praksi Mariele Cvetić a u  širem smislu reč je o interdisciplinarnoj raspravi o problemima savremene umetnosti, odnosno prepletima vizuelnih umetnosti, arhitekture i savremene teorije umetnosti.",
publisher = "Univerzitet u Beogradu - Arhitektonski fakultet",
title = "O razmeri : monumentalizovanje minijaturnog",
url = "https://hdl.handle.net/21.15107/rcub_raf_1994"
}

Cvetić, M.,& Čubrilo, J.. (2019). O razmeri : monumentalizovanje minijaturnog. 
Univerzitet u Beogradu - Arhitektonski fakultet..
https://hdl.handle.net/21.15107/rcub_raf_1994

Cvetić M, Čubrilo J. O razmeri : monumentalizovanje minijaturnog. 2019;.
https://hdl.handle.net/21.15107/rcub_raf_1994 .

Cvetić, Mariela, Čubrilo, Jasmina, "O razmeri : monumentalizovanje minijaturnog" (2019),
https://hdl.handle.net/21.15107/rcub_raf_1994 .

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  - 2019
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1015
AB  - Despite criticism that has been leveled against Gabriel Millet's well-known tripartite subdivision of architecture of medieval Serbia into three distinct 'schools', its scholarly authority still remains largely unchallenged. Yet what is believed to have stemmed from Millet's ingenious research was inextricably linked with the ideological project of Serbian national emancipation during the first decades of the twentieth century. His stylistic triad of L'école de Rascie, L'école de la Serbie byzantine and L'école de la Morava had an unexpectedly vivid and profound afterlife in the entirely new context of socialist Yugoslavia — in terms of both scholarship and ideological resonance. Its main proponent was Serbian architectural historian Aleksandar Deroko, whose book entitled Monumental and Decorative Architecture in Medieval Serbia apparently only reiterated the existing subdivision of medieval architecture by simply amending the 'schools' into 'groups'. Nevertheless, a closer insight into three successive editions of the book issued in 1953, 1962 and 1985 reveals a series of Deroko's encounters with the Milletian framework, suggesting that his enterprise can be seen as instrumental the ideological re-appropriation of medieval heritage in the context of the national question in Yugoslavia.
PB  - Belgrade : University of Belgrade, Faculty of Architecture
PB  - Belgrade : The Centre for Ethics, Law and Applied Philosophy
T2  - SAJ : Serbian architectural journal
T1  - Legacy of the Triad: Architecture in Medieval Serbia between Style and Ideology in the Work of Aleksandar Deroko
VL  - 11
IS  - 1
SP  - 115
EP  - 140
UR  - https://hdl.handle.net/21.15107/rcub_raf_1015
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2019",
abstract = "Despite criticism that has been leveled against Gabriel Millet's well-known tripartite subdivision of architecture of medieval Serbia into three distinct 'schools', its scholarly authority still remains largely unchallenged. Yet what is believed to have stemmed from Millet's ingenious research was inextricably linked with the ideological project of Serbian national emancipation during the first decades of the twentieth century. His stylistic triad of L'école de Rascie, L'école de la Serbie byzantine and L'école de la Morava had an unexpectedly vivid and profound afterlife in the entirely new context of socialist Yugoslavia — in terms of both scholarship and ideological resonance. Its main proponent was Serbian architectural historian Aleksandar Deroko, whose book entitled Monumental and Decorative Architecture in Medieval Serbia apparently only reiterated the existing subdivision of medieval architecture by simply amending the 'schools' into 'groups'. Nevertheless, a closer insight into three successive editions of the book issued in 1953, 1962 and 1985 reveals a series of Deroko's encounters with the Milletian framework, suggesting that his enterprise can be seen as instrumental the ideological re-appropriation of medieval heritage in the context of the national question in Yugoslavia.",
publisher = "Belgrade : University of Belgrade, Faculty of Architecture, Belgrade : The Centre for Ethics, Law and Applied Philosophy",
journal = "SAJ : Serbian architectural journal",
title = "Legacy of the Triad: Architecture in Medieval Serbia between Style and Ideology in the Work of Aleksandar Deroko",
volume = "11",
number = "1",
pages = "115-140",
url = "https://hdl.handle.net/21.15107/rcub_raf_1015"
}

Ignjatović, A.. (2019). Legacy of the Triad: Architecture in Medieval Serbia between Style and Ideology in the Work of Aleksandar Deroko. in SAJ : Serbian architectural journal
Belgrade : University of Belgrade, Faculty of Architecture., 11(1), 115-140.
https://hdl.handle.net/21.15107/rcub_raf_1015

Ignjatović A. Legacy of the Triad: Architecture in Medieval Serbia between Style and Ideology in the Work of Aleksandar Deroko. in SAJ : Serbian architectural journal. 2019;11(1):115-140.
https://hdl.handle.net/21.15107/rcub_raf_1015 .

Ignjatović, Aleksandar, "Legacy of the Triad: Architecture in Medieval Serbia between Style and Ideology in the Work of Aleksandar Deroko" in SAJ : Serbian architectural journal, 11, no. 1 (2019):115-140,
https://hdl.handle.net/21.15107/rcub_raf_1015 .

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  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2018
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1010
AB  - U drugoj polovini XX veka najveća zasluga u istraživanju i popularizaciji arhitekture srednjovekovne Srbije, na osnovama koje je postavio francuski vizantolog Gabrijel Mije, nesumnjivo pripada knjizi Aleksandra Deroka Monumentalna i dekorativna arhitektura u srednjovekovnoj Srbiji, naučno popularnoj monografiji i univerzitetskom udžbeniku koji je imao tri sukcesivna izdanja (1953, 1962. i 1985). Pažljivije čitanje Derokovog tekstualnog i vizuelnog narativa otkriva ne samo niz modifikacija izvorne mijeovske sheme, već ukazuje i na širi društveni značaj i ideološku instrumentalnost srednjovekovne arhitekture u kontekstu nacionalnog pitanja u socijalističkoj Jugoslaviji. U radu se razmatra Derokov odnos prema pitanjima naciionanog identiteta, etnogeneze i politogeneze u dvostrukom interpretativnom kontekstu humanističkih nauka u socijalističkoj Jugoslaviji i ideologije bratstva i jedinstva. Pri tome teza o instrumentalnosti istorije arhitekture u građenju dijalektičkog odnosa između inkluzivnog slovenskog i ekskluzivnih partikularnih identiteta jugoslovenskih
naroda u istorijskoj perspektivi predstavlja osnovnu interpretativnu platformu ovog rada.
PB  - Beograd : Udruženje za društvenu istoriju
PB  - Beograd : Univerzitet u Beogradu - Filozofski fakultet
T2  - Godišnjak za društvenu istoriju = Annual of Social History
T1  - Iza zastora jugoslovenske federalizacije: Aleksandar Deroko i dijalektika identiteta u arhitekturi srednjovekovne Srbije
VL  - 25
IS  - 2
SP  - 63
EP  - 88
UR  - https://hdl.handle.net/21.15107/rcub_raf_1010
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2018",
abstract = "U drugoj polovini XX veka najveća zasluga u istraživanju i popularizaciji arhitekture srednjovekovne Srbije, na osnovama koje je postavio francuski vizantolog Gabrijel Mije, nesumnjivo pripada knjizi Aleksandra Deroka Monumentalna i dekorativna arhitektura u srednjovekovnoj Srbiji, naučno popularnoj monografiji i univerzitetskom udžbeniku koji je imao tri sukcesivna izdanja (1953, 1962. i 1985). Pažljivije čitanje Derokovog tekstualnog i vizuelnog narativa otkriva ne samo niz modifikacija izvorne mijeovske sheme, već ukazuje i na širi društveni značaj i ideološku instrumentalnost srednjovekovne arhitekture u kontekstu nacionalnog pitanja u socijalističkoj Jugoslaviji. U radu se razmatra Derokov odnos prema pitanjima naciionanog identiteta, etnogeneze i politogeneze u dvostrukom interpretativnom kontekstu humanističkih nauka u socijalističkoj Jugoslaviji i ideologije bratstva i jedinstva. Pri tome teza o instrumentalnosti istorije arhitekture u građenju dijalektičkog odnosa između inkluzivnog slovenskog i ekskluzivnih partikularnih identiteta jugoslovenskih
naroda u istorijskoj perspektivi predstavlja osnovnu interpretativnu platformu ovog rada.",
publisher = "Beograd : Udruženje za društvenu istoriju, Beograd : Univerzitet u Beogradu - Filozofski fakultet",
journal = "Godišnjak za društvenu istoriju = Annual of Social History",
title = "Iza zastora jugoslovenske federalizacije: Aleksandar Deroko i dijalektika identiteta u arhitekturi srednjovekovne Srbije",
volume = "25",
number = "2",
pages = "63-88",
url = "https://hdl.handle.net/21.15107/rcub_raf_1010"
}

Ignjatović, A.. (2018). Iza zastora jugoslovenske federalizacije: Aleksandar Deroko i dijalektika identiteta u arhitekturi srednjovekovne Srbije. in Godišnjak za društvenu istoriju = Annual of Social History
Beograd : Udruženje za društvenu istoriju., 25(2), 63-88.
https://hdl.handle.net/21.15107/rcub_raf_1010

Ignjatović A. Iza zastora jugoslovenske federalizacije: Aleksandar Deroko i dijalektika identiteta u arhitekturi srednjovekovne Srbije. in Godišnjak za društvenu istoriju = Annual of Social History. 2018;25(2):63-88.
https://hdl.handle.net/21.15107/rcub_raf_1010 .

Ignjatović, Aleksandar, "Iza zastora jugoslovenske federalizacije: Aleksandar Deroko i dijalektika identiteta u arhitekturi srednjovekovne Srbije" in Godišnjak za društvenu istoriju = Annual of Social History, 25, no. 2 (2018):63-88,
https://hdl.handle.net/21.15107/rcub_raf_1010 .

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  - 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  - 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  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1025
AB  - Tematski niz slika Jovana Bijelića poznat pod nazivom „Bosanski pejzaži” nastajao je kroz niz godina, počev od kraja druge pa sve do sredine pete decenije XX veka. Uprkos osvedočenim stilskim tranzicijama te formalnim i kolorističkim transformacijama Bijelićevog slikarstva, „Bosanski pejzaži” pokazuju neobičan kontinuitet po pitanju odnosa prikazanog prema prirodi. Taj odnos obeležen je odsustvom mimetičkog procesa stvaranja, pri čemu su prikazi „bosanskih” krajolika nastajali i bili tumačeni kao arbitrarne mnemoničke konstrukcije i kao plod umetnikove lične imaginacije. Međutim, Bijelićeva vizija Bosne nije predstavljala samo plod personalne uobrazilje, niti samo zgodan interpretativan obrazac za kritičare, već se podudarala sa mnogo širom kulturološkom konstrukcijom ove pokrajine u složenom političkom kontekstu Kraljevine Jugoslavije. U ovom radu se istražuje upravo taj odnos između konstruisane predstave Bosne i njene političke realnosti kroz interpretaciju recepcije Bijelićevih „Bosanskih pejzaža” — kako u sopstvenom vremenu, tako i u docnijoj istoriografskoj tradiciji. Rad se bazira na tezi da su upravo na taj način koncipirani i tumačeni „Bosanski pejzaži” predstavljali sastavni deo proizvodnje ideološki složenog i politički instrumentalnog mita o Bosni koji je, naizgled paradoksalno, prevezivao međuratni kontekst Kraljevine Jugoslavije i period posleratne socijalističke federativne zajednice.
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  - Kulturna invencija kao ideološka mimikrija: o ʻBosanskim pejzažimaʼ Jovana Bijelića 1919-1944
IS  - 12
SP  - 47
EP  - 63
UR  - https://hdl.handle.net/21.15107/rcub_raf_1025
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "Tematski niz slika Jovana Bijelića poznat pod nazivom „Bosanski pejzaži” nastajao je kroz niz godina, počev od kraja druge pa sve do sredine pete decenije XX veka. Uprkos osvedočenim stilskim tranzicijama te formalnim i kolorističkim transformacijama Bijelićevog slikarstva, „Bosanski pejzaži” pokazuju neobičan kontinuitet po pitanju odnosa prikazanog prema prirodi. Taj odnos obeležen je odsustvom mimetičkog procesa stvaranja, pri čemu su prikazi „bosanskih” krajolika nastajali i bili tumačeni kao arbitrarne mnemoničke konstrukcije i kao plod umetnikove lične imaginacije. Međutim, Bijelićeva vizija Bosne nije predstavljala samo plod personalne uobrazilje, niti samo zgodan interpretativan obrazac za kritičare, već se podudarala sa mnogo širom kulturološkom konstrukcijom ove pokrajine u složenom političkom kontekstu Kraljevine Jugoslavije. U ovom radu se istražuje upravo taj odnos između konstruisane predstave Bosne i njene političke realnosti kroz interpretaciju recepcije Bijelićevih „Bosanskih pejzaža” — kako u sopstvenom vremenu, tako i u docnijoj istoriografskoj tradiciji. Rad se bazira na tezi da su upravo na taj način koncipirani i tumačeni „Bosanski pejzaži” predstavljali sastavni deo proizvodnje ideološki složenog i politički instrumentalnog mita o Bosni koji je, naizgled paradoksalno, prevezivao međuratni kontekst Kraljevine Jugoslavije i period posleratne socijalističke federativne zajednice.",
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 = "Kulturna invencija kao ideološka mimikrija: o ʻBosanskim pejzažimaʼ Jovana Bijelića 1919-1944",
number = "12",
pages = "47-63",
url = "https://hdl.handle.net/21.15107/rcub_raf_1025"
}

Ignjatović, A.. (2016). Kulturna invencija kao ideološka mimikrija: o ʻBosanskim pejzažimaʼ Jovana Bijelića 1919-1944. 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.(12), 47-63.
https://hdl.handle.net/21.15107/rcub_raf_1025

Ignjatović A. Kulturna invencija kao ideološka mimikrija: o ʻBosanskim pejzažimaʼ Jovana Bijelića 1919-1944. 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. 2016;(12):47-63.
https://hdl.handle.net/21.15107/rcub_raf_1025 .

Ignjatović, Aleksandar, "Kulturna invencija kao ideološka mimikrija: o ʻBosanskim pejzažimaʼ Jovana Bijelića 1919-1944" 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. 12 (2016):47-63,
https://hdl.handle.net/21.15107/rcub_raf_1025 .

TY  - JOUR
AU  - Ignjatović, Aleksandar
PY  - 2016
UR  - https://raf.arh.bg.ac.rs/handle/123456789/1039
AB  - While presenting the complexity of modernist art tendencies in this part of Europe, stretched between the international and local, national and regional, beyond the usual tropes of the civilizational belatedness and of what Maria Todorova has called the East European "Trap of Backwardness", this book reveals a bunch of more or less familiar subjects. While exploring the complexity and entanglement of Serbian modernism in visual culture, literature and architecture, the book helps reveal how global cultural impact of modernity developed interesting local variants which is still an understudied subject, marginalized in scholarly discourse. According to the applied methodological framework marked by avoiding "partisan scholarship" and "politicized discussions" — but also by avoiding the critical interrogation of typical interpretive truisms such as "Academism" or the "Serbo-Byzantine Style" — interwar Serbian modernism, nevertheless, remains largely de-contextualized in this volume. This unfortunately leaves the book lacking the scholarly weight to transform our standard understanding of Serbian modernism that has been firmly entrenched in the existing literature.
PB  - Paderborn: Ferdinand Schöningh
PB  - Leiden: Brill
T2  - Southeastern Europe
T1  - On the Very Edge: Modernism and Modernity in the Arts 	and Architecture of Interwar Serbia (1918-1941)
VL  - 40
IS  - 1
SP  - 118
EP  - 120
DO  - 10.1163/18763332-04001003
ER  - 

@article{
author = "Ignjatović, Aleksandar",
year = "2016",
abstract = "While presenting the complexity of modernist art tendencies in this part of Europe, stretched between the international and local, national and regional, beyond the usual tropes of the civilizational belatedness and of what Maria Todorova has called the East European "Trap of Backwardness", this book reveals a bunch of more or less familiar subjects. While exploring the complexity and entanglement of Serbian modernism in visual culture, literature and architecture, the book helps reveal how global cultural impact of modernity developed interesting local variants which is still an understudied subject, marginalized in scholarly discourse. According to the applied methodological framework marked by avoiding "partisan scholarship" and "politicized discussions" — but also by avoiding the critical interrogation of typical interpretive truisms such as "Academism" or the "Serbo-Byzantine Style" — interwar Serbian modernism, nevertheless, remains largely de-contextualized in this volume. This unfortunately leaves the book lacking the scholarly weight to transform our standard understanding of Serbian modernism that has been firmly entrenched in the existing literature.",
publisher = "Paderborn: Ferdinand Schöningh, Leiden: Brill",
journal = "Southeastern Europe",
title = "On the Very Edge: Modernism and Modernity in the Arts 	and Architecture of Interwar Serbia (1918-1941)",
volume = "40",
number = "1",
pages = "118-120",
doi = "10.1163/18763332-04001003"
}

Ignjatović, A.. (2016). On the Very Edge: Modernism and Modernity in the Arts 	and Architecture of Interwar Serbia (1918-1941). in Southeastern Europe
Paderborn: Ferdinand Schöningh., 40(1), 118-120.
https://doi.org/10.1163/18763332-04001003

Ignjatović A. On the Very Edge: Modernism and Modernity in the Arts 	and Architecture of Interwar Serbia (1918-1941). in Southeastern Europe. 2016;40(1):118-120.
doi:10.1163/18763332-04001003 .

Ignjatović, Aleksandar, "On the Very Edge: Modernism and Modernity in the Arts 	and Architecture of Interwar Serbia (1918-1941)" in Southeastern Europe, 40, no. 1 (2016):118-120,
https://doi.org/10.1163/18763332-04001003 . .

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  - 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  - 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 . .