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The Nonconformists: Dobrica Ćosić and Mića Popović Envision Serbia
Published online by Cambridge University Press: 27 January 2017
Extract
There is little to debate about the nature of Serbian political life since the mid-1980s—it has been highly nationalized, to the point that one can argue that a consensus existed among Serbian public figures that the Serbs' very existence was threatened by their neighbors. This consensus links political, cultural, and intellectual elites regardless of their ideological background. It draws together figures representing great diversity in Serbia. This powerful movement has usually been either dismissed or demonized: dismissed as superficial, the product of the cynical adaptation of politicians to new times, or demonized as something inherent in Serbian political culture, a historically predetermined mind-set, ancient and therefore ineradicable. But there is too much evidence that nationalism in Serbia is neither superficial nor ancient. What of the large number of Serbian intellectual and cultural figures who traversed the path from socialism to nationalism after 1945? Were they collectively one of the most cynical generations in any society's modern history, or were they simply possessed by the ancient demons of Serbian nationalism? Neither explanation is satisfying. Instead, postwar Serbian nationalism began as a legitimate and humane movement, neither incomprehensible nor artificial, and it should be understood in the context of communism's effect on Serbian society and its failure to fulfill its own promises, particularly to bring modernization and a universal culture to the peoples of Yugoslavia.
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References
1. Until recently nearly all attention paid to Yugoslavia's collapse focused on political and economic causes, with very little comment on the cultural context. Wachtel, Andrew Baruch, Making a Nation, Breaking a Nation: Literature and Cultural Politics in Yugoslavia (Stanford, 1998)Google Scholar provides an excellent antidote to that disinterest. This article is intended to contribute to furthering our understanding of cultural processes at work in Yugoslavia.
2. In actuality, they had no name for themselves as a group. Dobrica Ćosić, who first contributed to the creation of a minor legend surrounding these men, called them “nonconformists” in Djukić, Slavoljub, Ćovek u svom vremenu: Razgovori sa Dobricom Ćosićem (Belgrade, 1989), 32 Google Scholar; at another point he described them as “people without compass” in Ćosić, Dobrica, Mića Popović, vreme, prijatelji (Belgrade, 1988), 28 Google Scholar; Mića Popović dubbed them “heretics” in Milo Gligorijević, Odgovor Miće Popovića (Belgrade, 1983), 49.
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6. Ibid., 99.
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39. In fact, he publicly debated the merits of socialist realism with Radovan Zogović, one of the new regime's ideologues. Popović implied that socialist realist art was no different from Nazi art. See Gligorijević, Odgovor Miće Popovića, 30; Gavrić, Mića Popović, 19.
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61. Pavle Ivić and Dejan Medaković were the nonconformists on the Committee for the Preparation of a Memorandum on Contemporary Social Questions, which was appointed on 13 June 1985. The committee had sixteen members, including Antonije Isaković, Mihailo Marković, Radovan Samardžić, Vasilije Krestić, and Kosta Mihailović, but not Dobrica Ćosić. Information on the committee is from Srpska akademija nauke i umetnosti, Godisnjak 92 (1986): 105.
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