284 KB49 KB199020252017Velikonja, MitjaVelikonja, Mitjaštevilka:46str. 151-166ISSN:0353-6777COBISSID_HOST:42045741URN:URN:NBN:SI:doc-JVI2BL2XslInštitut za slovensko izseljenstvoDve domovinigraffitigrafitiimmigration and emigrationizseljevanje in priseljevanjejugonostalgijaJugoslavijanacionalizemnationalismsemiologijasemiologystreet artulična umetnostYugonostalgiaYugo-nostalgiaYugoslaviaJugoslavija po Jugoslaviji| grafiti o nekdanji domovini v novih postjugoslovanskih domovinah|Twenty-five years after the bloody collapse of socialist Yugoslavia, the urban walls of its successor states are still full of graffiti of two homelands: the present-day nation-states and the former Yugoslav federation. The main questions of the text - based on my longitudinal research and semiological (quantitative and qualitative) methodological approaches - are how, where and why Yugoslavia, its socialism, its antifascist roots and its leaders are (de)constructed, praised and condemned in this specific urban subculture. On the level of denotation, graffiti and street art can be divided into pro-Yugoslav and anti-Yugoslav, often directly confronted in graffiti-battles. On the level of connotation, three major ideological antagonisms appear: socialist federalism vs. nationalism, Tito vs. his opponents, and antifascism vs. fascism. Before presenting the final findings of the research, an analysis is made of the expressive strategies of this urban production, such as provocation and criticism, affirmation and continuity, territory marking, constant antagonisation and semiotic guerrillismPetindvajset let po krvavem razpadu socialistične Jugoslavije so zidovi postjugoslovanskih mest še vedno polni grafitov dveh domovin: aktualne nacionalne države in nekdanje jugoslovanske federacije. Glavna raziskovalna vprašanja članka, ki temelji na avtorjevem longitudinalnem raziskovanju in semioloških (kvalitativnih in kvantitativnih) metodoloških pristopih je, kako, kje in zakaj so v tej specifični urbani subkulturi Jugoslavija, njen socializem, njene protifašistične korenine in njeni voditelji (de)konstruirani, slavljeni in obsojani. Na ravni denotacije se grafiti in street art, ki se pogosto konfrontirajo v grafitarskih bitkah, delijo na pro- in protijugoslovanske. Na ravni konotacije se pojavljajo trije glavni ideološki antagonizmi: socialistični federalizem vs. nacionalizem, Tito vs. njegovi nasprotniki in antifašizem vs. fašizem. Temu sledi analiza ekspresivnih strategij tovrstne urbane produkcije, kot so provokacija in kritika, afirmacija in kontinuiteta, označevanje terena, nenehni antagonizem in semiološka gverilaTEXTznanstveno časopisjejournalsSlovenian National E-content AggregatorNational and University Library of SloveniaZRC SAZU