Javni spomeniki in spomeniki, posvečeni prvi svetovni vojni, na območju Jugoslavije od poznega 19. stoletja do leta 1941. (Slovenian)

The First World War monuments produced in interwar Yugoslavia are today usually discussed separately, within the context of the successor state to which they belong. The article attempts to present a picture of this production that is as comprehensive as possible, outlining not only the common features of these works but also their differences, which to a large degree were conditioned by very diverse local traditions of commemoration and memorial creation. To achieve its aim the article analyses how the production of public monuments in a new country was established on a systemic level, from where its mindset and artistic influences were originating, and who were its key creators and pedagogues. It further questions how the monuments dedicated to the First World War are inscribed with desires to strengthen a common Yugoslav identity, establish a collective imaginary, and develop a distinctive visual image of the young state. Yugoslavia faced considerable difficulties in this area, which were fostered not only by internal inter-ethnic and political tensions and a poorly thought-out state cultural policy, but also by the lack of unifying shared stories and memories. Since the different parts of Yugoslavia had often found themselves in opposing political camps before unification, stories from the past could even be extremely divisive for the young state. [ABSTRACT FROM AUTHOR]

Jugoslovanske spomenike, povezane s prvo svetovno vojno, danes praviloma obravnavamo ločeno, v okvirih držav naslednic. Članek poskuša predstaviti čim bolj celovito sliko te produkcije in zarisati njene skupne značilnosti, obenem pa tudi razlike, v veliki meri pogojene z zelo raznolikimi lokalnimi tradicijami komemoriranja in postavljanja obeležij. Jedro besedila je analiza, kako se produkcija javnih spomenikov v novi Jugoslaviji vzpostavi sistemsko, od kod prihajajo njeni miselni vzorci in likovni vzori ter kdo so njeni ključni avtorji. Sledi razmislek o tem, kako so se v spomenike vpisovale težnje po krepitvi skupne jugoslovanske identitete, vzpostavljanju kolektivnega imaginarija in čim bolj enotni, prepoznavni vizualni podobi mlade države. Jugoslavija je imela na tem področju precejšnje težave, ki jim niso botrovale le notranje mednacionalne in politične napetosti ter nedomišljena državna kulturna politika, temveč tudi pomanjkanje združujočih skupnih zgodb in spominov. Ker so se deli nove države pred združitvijo pogosto znašli v nasprotnih političnih taborih, so lahko zgodbe iz preteklosti nanjo učinkovale celo skrajno razdiralno [ABSTRACT FROM AUTHOR]

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