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dc.creatorIgnjatović, Aleksandar
dc.date.accessioned2020-06-28T14:44:59Z
dc.date.available2020-06-28T14:44:59Z
dc.date.issued2010
dc.identifier.issn2217-3951
dc.identifier.urihttp://raf.arh.bg.ac.rs/handle/123456789/1021
dc.description.abstractThe ideology of Integral Yugoslavism was based on a set of principles related to the denial of the national individualities of Serbs, Croats and Slovenes which were considered irrelevant to the common, Yugoslav identity. Integral Yugoslavism, however, was not an abstract political doctrine, but it was heavily dependent on culture and art in particular. Yugoslav art of the first decades of the twentieth century was marked by the idea that artwork had to represent both cultural and political, and historical and modern unity of the nation. Moreover, it was believed that art had to herald a new era in political and cultural life of South Slavs and to serve as the legitimation of the long-awaited political independence. Among a variety of artistic poetics of the time, that of the famous Croatian sculptor Ivan Meštrović (1883-1962) was extremely prominent and politically engaged. Meštrović’s monumental sculptures of the Vidovdan and Kraljević Marko cycle argued most cogently for national independence and the unification of all South Slavs.en
dc.description.abstractIdeologija integralnog jugoslovenstva bila je zasnovana na nizu složenih principa koji su negirali nacionalne karakteristike i individualne osobenosti Srba, Hrvata i Slovenaca. Osnovni sadržaj integralnog jugoslovenstva bila je ideja o primodijalnom jedinstvu Jugoslovena, shvaćenih kao jedinstvena nacija. Ova ideologija, međutim, nije predstavljala apstraktnu doktrinu o nacionalnom jedinstvu već je podrazumevala niz konstitutivnih elemenata koji su bili zasnovani na sistemima kulturne reprezentacije. Likovna umetnost je u tom sistemu imala zapaženo mesto, pre svega u toku prvih nekoliko decenija 20. veka kada je ideologija integralnog jugoslovenstva dostigla svoj zenit. U obilju umetničkih poetika toga vremena posebno se izdvajaju dva skulptoralna ciklusa hrvatskog umetnika Ivana Meštrovića (1883-1962) ¬ Vidovdanski ciklus i Ciklus Kraljevića Marka - kao ključna legitimacija političke doktrine o jedinstvenoj jugoslovenskoj naciji i nužnosti stvaranja zajedničke države Južnih Slovena.sr
dc.language.isosrsr
dc.publisherBeograd : Univerzitet u Beogradu - Filozofski fakultetsr
dc.relationinfo:eu-repo/grantAgreement/MESTD/Basic Research (BR or ON)/177013/RS//sr
dc.rightsopenAccesssr
dc.sourceZbornik Seminara za studije moderne umetnosti Filozofskog fakulteta Univerziteta u Beogradu = The Journal of Modern Art History Department Faculty of Philosophy University of Belgradesr
dc.subjectYugoslaviasr
dc.subjectNational identitysr
dc.subjectYugoslavismsr
dc.subjectIvan Meštrovićsr
dc.subjectModern Artsr
dc.subjectNational identitysr
dc.subjectThe Vidovdan Templesr
dc.subjectThe Kosovo Templesr
dc.subjectYugoslav Art Exhibitionssr
dc.titleIzmeđu politike i kulture: integralno jugoslovenstvo i likovna umetnostsr
dc.typearticlesr
dc.rights.licenseARRsr
dcterms.abstractИгњатовић, Aлександар; Између политике и културе: интегрално југословенство и ликовна уметност; Између политике и културе: интегрално југословенство и ликовна уметност;
dc.citation.issue6
dc.citation.spage7
dc.citation.epage20
dc.citation.rankM51
dc.identifier.fulltexthttp://raf.arh.bg.ac.rs/bitstream/id/2982/Izmedu_politike_i_kulture_integralno_jug.pdf
dc.type.versionpublishedVersionsr


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