Date of publishing:
15.12.2020
DOI: https://doi.org/10.21104/CL.2020.4.03
The Český lid provides open access to all of its content under licenseCreative Commons Attribution NonCommercial-NoDerivatives 4.0 International.
Abstract:
"Spomenik" is the Serbo-Croatian word for monument. Internationally, the term has become established for the numerous partisan monuments that have been erected throughout the entire area of the former Yugoslavia that commemorate events of the Second World War. With the Yugoslav disintegration war in the 1990s many of these objects became detached from their original function and dissonant heritage. With their modernist architecture, the Spomeniks became popular internet motifs since about 2010 and are now experiencing a growing interest in tourism again which recently became institutionalised in the foundation of a touristic cultural route. In this process of valorisation, picturing the condition of the monuments, their decay and the characterization as a "lost place", which has become a decisive aesthetic in their circulation online, apparently plays a superior role over the actual „lieux de mémoire“. This image practice will be exemplified by the "Tjentište Monument" in Bosnia-Herzegovina.
Keywords
dissonant heritage;tourist gaze;valorisation;image practices
Article Text
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