Kingdom of Yugoslavia

Године 1933. иницирана је обнова родне куће Вука Караџића у Тршићу. Паралелно са том иницијативом је предложена изградња Дома културе Вук Караџић у Лозници који би служио као центар културних и еманципаторских активности овог места. Околности под којима је дом подизан представљају веома добру студију случаја културне политике у време Краљевине Југославије. С друге стране, архитектура Дома културе се истиче у амбијенту својим модернистичким декоратитивизмом, што захтева подробнију анализу. На основу веома специфичног пројектантског рукописа, Дом културе се до сада приписивао архитекти Фрањи Урбану. Међутим, како Дом културе у Лозници до сада није био предмет подробнијег истраживања, овај рад би имао за циљ да покуша да на основу доступне архивске грађе у Архиву Југославије и Архиву у Шапцу коначно потврди Урбаново ауторство, као и ближе околности под којим је овај значајан пример међуратне архитектуре Лознице подигнут.

Izgradnjom sinagoge Bet Jisrael, u neomavarskom stilu po projektu arhitekte Milana Kapetanovića, beogradska jevrejska zajednica početkom XX veka prihvatila je orijentalistički koncept u iskazivanju svog identiteta. Ovo je nakon Prvog svetskog rata potvrdila i izgradnjom zgrade društva Oneg šabat i Gemilut Hasidim, po projektu arhitekte Samuela Sumbula, oblikovane po istim principima. Ideja nastala i razvijana u Centralnoj Evropi, prema kojoj se jevrejski identitet, kao ne evropskog naroda, podesno mogao iskazati dekorativnim repertoarom i koncepcijama islamske umetnosti, prihvaćena je i u srpskoj sredini, pre svega od samih Jevreja koji su svoje objekte na ovaj način uobličavali.
Važan vid jevrejske vizuelne kulture, kome do sada nije posvećivana znatna pažnja, predstavljaju funerarni spomenici oblikovani i dekorisani prema principima orijentalistički shvaćene arhitekture. Ove reprezentativne grobnice nastale u prvim decenijama XX veka, na sefardskom jevrejskom groblju u Beogradu, svedočanstvo su prihvatanja i aproprijacije ovih ideja u privatno-javnoj sferi, kakva je prostor jevrejskog groblja. Grobnice porodica: Talvi, Alkalaj, Mošić i de Majo, jasno su orijentalistički koncipirane, bez paralela u dotadašnjoj praksi niti širim tokovima funerarne arhitekture na prostoru Beograda. Razmatranje pomenutih grobnica, doprinosi boljem razumevanju veze orijentalizma i iskazivanja jevrejskog identiteta, kao i prihvatanju ovih koncepata od strane istaknutih beogradskih Jevreja.

Beogradski ravnogorci monografija je koja je posvećena jednoj nedovoljno istraženoj temi u domaćoj istoriografiji- delovanju pokreta otpora u urbanim uslovima jedne okupirane prestonice. Autor se ne zadržava samo na istoriografskoj rekonstrukciji pravaca delovanja već nastoji da pronikne u složeni mehanizam "urbane gerile". Analizirana je orgnizaciona struktura, metodologija rada, ukazano na kadrovski i materijalni potencijal Ravnogorskog pokreta u Beogradu tokom Drugog svetskog rata. Vršenje obaveštajne službe, širenje ilegalne propagande, sakupljanje materijalnih sredstava, izvođenje sabotaža i atentati istaknuti su kao  najvažniji oblici otpora koji su vršili beogradski ravnogorci. Posebnu vrednost čini nastojanje da se oslanjanjem na relevantnu literaturu anglosaksonskog govornog područja čitaocima obezbedi i komparativna dimenzija ove teme u okvirima delovanja drugih pokreta otpora u okupiranoj Evropi. Publikacija ima 427 stranica i obogaćena je grafikonima, tabelama i autentičnim fotografijama.

Соколска архитектура представља један значајан сегмент у историји југословенске архитектуре, јер пре свега одсликава друштвену и културну климу Краљевине Југославије. Међутим, и поред делимичног удела државе у формирању визуелне културе Соколства, на великом броју сачуваних пројеката соколских домова може се уочити лични
архитектонски речник и сензибилиитет пројектаната. У односу на градитељска остварења државе и приватних појединаца соколска архитектура је пружала далеко већу слободу архитектима приликом пројектовања, a самим тим се стилски несметано развијала. На основу тога се могу пратити и јасно издвојити главни токови у архитектури међуратног
периода на територији Краљевине Југославије, као и на који начин је масовно пројектовање соколских домова допринело афирмацији и каснијој популарности одређених архитектонских покрета, попут експресионизма или модернизма.

The Time of Ideological Wavering. The Communist Party of Yugoslavia in the Independent State of Croatia from the April War until the Attack of Nazi Germany on the Soviet Union


Summary, page 113: "The aim of this work is to elucidate the position of the Communist Party of Yugoslavia in the Independent State of Croatia at the beginning of the Second World War. The work is written in structuralist methodology, on the basis of diverse unpublished and published sources, newest insights of current (especially German and Russian) historiography, and with the help of contemporary methods of research. Instead of focusing exclusively on the leadership of the party, the work explains its activity and decisions with the help of the wider context which was determined by Stalin’s strategy, the repressive anticommunist policy of the state in which the party was operational, and the condition of the party organizations at the local level. Therefore, it starts by providing an overview of the position of communist parties in Europe during the Hitler-Stalin Pact and the structure of the Stalinized Comintern. The paper then analyzes continuities and discontinuities in the repressive anticommunist policy during the last years of the existence of the Kingdom of Yugoslavia, i.e., the Banovina of Croatia, and the first months of the Independent State of Croatia. Special attention is given to the reports on the communist activity in the regions of Banovina, Kordun, Western Slavonia and Eastern Herzegovina where the first Ustasha massacres of Serb population will occur between April and June 1941. The paper then goes on to reconstruct the organizational structure of the Communist Party of Yugoslavia, ideological conflicts between its leading figures, and the practical activity of its members before the beginning of the Second World War in Yugoslavia. The second part of the work starts with a brief analysis of the policy of Nazi Germany, the Soviet Union, and Great Britain toward Southeastern Europe from the Italian attack on Greece until the German attack on the Soviet Union. It elucidates the repression of the communist activity by the Axis forces and the Ustasha movement in connection with the massacres of the Serb population from the April War until the beginning of the Operation “Barbarossa”. In such context and in difference to current historiography, this work concludes with a thesis that the Communist Party of Yugoslavia didn’t enter the Second World War reinforced and organizationally strengthened, but heavily compromised and decimated. However, its (ideologically divergent) policy on the national and agrarian questions will ensure the beginning of the growing support and will plant one of the seeds for the eventual success of the party on the territory of the Independent State of Croatia.

This is an analysis of various forms of ethnic and national identities in the Kingdom of Serbia and the Kingdom of Yugoslavia using the A-B-C continuum offered by Miroslav Hroch. It contrasts the ethnic and religious homo-geneity of the Principality and Kingdom of Serbia with the heterogeneity of interwar Yugoslavia. The author traces the improper handling of the minority question in the Kingdom of Yugoslavia to the experience of Serbian elites in the period before 1913; and experience that led them to think that the ethnic question could easily be resolved. The concept of Yugoslavism directly excluded 13% of population who belonged to non-Slavic minorities, and antagonised an additional quarter, who were Croats. This undermined the stability of the Kingdom of Yugoslavia, and the ultimate acceptance of the Banovina of Croatia signalled the defeat of the integral royalist version of Yugoslavism.

TANK UNITS IN THE ARMY OF THE KINGDOM OF YUGOSLAVIA (1930–1941)
Excluding the countries defeated in the World War I, the Kingdom of Yugoslavia was among the last to form its tank units (1930). Although the first tank unit was established some four years before Wehrmacht tank unit, the development of this branch was much slower in the Yugoslav Army than in the German Army. The main reasons were inability to procure adequate armor fighting vehicles from abroad and non-existence of domestic industries capable of independent production, but also a lack of awareness with people whose influence was crucial for the development of the Yugoslav Army of the importance of this combat means in a future war. The first serious development plan, made by division general Milan Dj. Nedić, appeared relatively early, in 1932. Made in accordance with the French model, and in line with the French doctrine postulates, this plan, with some less significant modifications, was the main source of ideas for the development of the armor units in the Yugoslav Army. Even it had been implemented, the question remains whether the achievement of the Yugoslav Army would have been any better, for the organization that followed the French model proved ineffective in the spring 1940. Yugoslavia lacked trained personnel to enlarge formations of tank units. The accelerated training provided in 1940 was not sufficient to prepare the officer cadre, let alone to provide sufficient number of noncommissioned officers and soldiers, so that even with the procurement plans completely implemented the Yugoslav Army would have faced the same problem. Considering all this, the results of Yugoslav tank units in combat actions against the enemy who surpassed them in technology, number and tactics could have been easily predicted.

Uticaj agrarne reforme na industrijalizaciju u Kraljevini SHS jeste tema koja otvara široke mogućnosti za analizu i istraživanje. Rad predstavlja studiju slučaja dva industrijska preduzeća na posedu Đorđa Dunđerskog preko čijih istorijata se analizira uticaj agrarne reforme na privredu. Prikazana je proizvodnja u preduzećima i njihovo delovanje u sklopu poseda do sredine 30-ih godina. Time je na posebnom slučaju rasvetljeno nekoliko fenomena ekonomskog razvoja Kraljevine SHS kao što su: pitanje agrarne reforme i mogućnost izuzeća od nje, pitanje odnosa poljoprivrede i industrije, odnosno struktrune transformacije poseda i shodno tome razvoja privrede.

The impact of agrarian reform on the industrialization of the Kingdom of SCS reveals wide possibilities for analysis and research. This article is conceived as a case study of two industrial enterprises owned by Đorđe Dunđerski which are analyzed and examined and through which the impact of agrarian reform on the economy is shown. It presents the production of the enterprises and their functioning as part of the estate until the mid-1930s. Thereby this special case revealed several phenomena of economic development of the Kingdom of SCS, such as the issue of agrarian reform and the possibility of exemptions from it, the question of the relationship between agriculture and industry, and structural transformation of the estate and consequently economic development.

Multiple projects of Dimitrije Mitrinović in the 1920s and 1930s never evolved into real political or social movements, although some of them had the capacity for that. It seems that Mitrinović preferred a social club with some mystical elements and loyal followers to the loosely connected members of a political or social movement. The two streams of his actions, which he had originally developed in the 1920s, continued in the 1930s. The first was aimed at social reform and the second at Christian mysticism which was very much based on Gnosticism. The New Britain journal is an example of the first stream, although it also had elements of the second. His correspondence with Eric Gutkind from this period (1927-1932) reveals once more the mystical Mi-trinović. His overall efforts are summarized as the project of a Gnostic Christian social club that, at times, developed into a movement. Some dilemmas of interpretation remain since the New Atlantis Foundation, for many decades, kept his archives and correspondence and insisted on its own version of Mi-trinović's teachings. The first to challenge their views was Predrag Palavestra.

Marking the 100th anniversary of the founding of Bauhaus, one of the leading and most influential modernist art schools, which, despite its short period of activity (1919-1933), paved the way for the new artistic, theoretical and social toponyms through its educational system, this text collects and exposes the specific and complex echoes created by designers, artists and architects from the Yugoslav cultural areas. The subject of this paper is related to a group of students from the Kingdom of Serbs, Croats and Slovenians (from 1929, the Kingdom of Yugoslavia) who studied architecture, textile design, photography and the fine arts at the Bauhaus in the period 1924-1932. Education at the Bauhaus, political context, as well as work in various prestigious architectural bureaus or individual design practices were of utmost importance in forming the ideological frameworks of the Yugoslav Bauhaus students’ production. In other words, the text seeks to illustrate the complex relationships between the individual poetics of the Yugoslav students at the Bauhaus and the historical moment in which they acted. The aim of the research is to determine the cultural and social positions of their work through relating the aesthetic reading of artistic practices, concise review of the socio-historical context and individual cases of Yugoslav students. The research methodology is framed by the existing sources and interpretations.

Keywords: Bauhaus, Yugoslav students, Kingdom of Yugoslavia, modernism, architectural and artistic education, aesthetic reading

Смедеревска Паланка је током међуратног периода представљала значајан центар културног, привредног, трговинског и индустријског развоја смедеревског краја. Нарочит допринос том
развоју дала су бројна предузећа, банке, задруге, али у највећој мери индустријско предузеће „Јасеница“, које је Смедеревску Паланку начинило местом економског, а затим и културно-просветног развитка.
Модернизација Смедеревске Паланке проузроковала је и значајан урбанистички и архитектонски развој, па тако у овом периоду настају значајни објекти, попут зграде Гимназије, индустријског комплекса „Јасеница“, градског позоришта, али и приватне репрезентативне виле и куће виђенијих грађана.
Истраживање архитектонског наслеђа Смедеревске Паланке је у
досадашњој историографији било углавном ограничено на споменике културе осамнаестог и деветнаестог века, док архитектура двадесетог века још увек није добила адекватну периодизацију и валоризацију нити је до сада сачињена методолошки озбиљнија студија на ову тему. Услед неистражене архивске грађе, историјских извора и теренског истраживања, сматрамо да је од великог значаја посветити се управо овој теми и расветлити до сада недовољно познате градитеље и њихова остварења у Смедеревској Паланци током међуратног периода.

Utjecaj češke na hrvatsku arhitekturu 20. stoljeća izuzetno je velik, djelom zahvaljujući djelovanju čeških arhitekata u Hrvatskoj (na primjer u izgradnji kompleksa Batine tvornice u Borovu), no još više stoga što je cijeli niz hrvatskih i jugoslavenskih arhitekata završio školovanje na njemačkoj ili češkoj politehnici u Pragu. Među najvažnije od njih spada Marko Vidaković (Golubinci, 18. 7. 1890. – Zagreb, 5. 1. 1976.). Nakon jedne godine studiranja na Visokoj tehničkoj školi u Beču (1909. – 1910.), na Česká vysoká škola technická u Pragu studirao je s prekidima između 1910. i 1919. Vidaković je odigrao ključnu ulogu u pojavi moderne u arhitekturi Hrvatske organiziranjem izložbe Čehoslovačke savremene arhitekture u Zagrebu (17. 3. – 1. 4. 1928.) koju je priredio uz pomoć Zdenĕka Wirtha iz Čehoslovačkog ministarstva za školstvo i narodnu prosvjetu. Nedugo poslije izložbe projektirao je i podigao jednu od prvih građevina internacionalnog stila u Zagrebu, vilu Ljudevita Pfeffermanna (Jurjevska 27a, 1928. – 1929.). I u ovome i u kasnijim njegovim projektima (poput nerealiziranog projekta paviljona za Zagrebački zbor iz 1931.) osjeća se utjecaj radova čeških arhitekata. Iako nakon vile Pfeffermann Vidaković neće imati prilike realizirati važnije građevine, iz projekata koje je izrađivao (tramvajska stajališta, 1930. ; umjetnički dom, 1930. ; klinika za otorinolaringologiju, 1940., sve u Zagrebu) očito je kako se radilo o vrlo talentiranom arhitektu koji je potpuno prihvatio leksik moderne arhitekture. U širenju internacionalnog stila u Hrvatskoj i Jugoslaviji odigrao je važnu ulogu i putem svojih brojnih tekstova publiciranih u časopisu Arhitektura iz Ljubljane, te u zagrebačkim i beogradskim dnevnim novinama. Tijekom Drugog svjetskog rata aktivno je sudjelovao u spašavanju srpske djece u profašističkoj Nezavisnoj Državi Hrvatskoj.

Wer heute den Blick auf die serbische Hauptstadt richtet, die an der Save-Mündung (serb. Sava) zur Donau liegt, der hat eine erstaunlich vielfältige architektonische Landschaft vor Augen. Die osmanische Herrschaft in Belgrad, die mit Unterbrechungen bis in die ersten Jahrzehnte des 19. Jahrhunderts dauerte, prägte einige wichtige Bauten der Stadt. Zum Ende des 19. Jahrhunderts traten neoklassizistische und eklektizistische Stiltendenzen hinzu und später die modernistischen Bauten des frühen 20. Jahrhunderts sowie die vom Repräsentationsstil des Sozialismus geprägte Architektur nach dem Zweiten Weltkrieg. Aus diesen Einflüssen entstand eine beeindruckende architektonische Mischung, die sich zwar mit der in anderen südosteuropäischen Städten - wie z. B. Sarajevo - vergleichen lässt und doch zu einem eigenwilligen Stadtcharakter beiträgt.
Einige der Sakralbauten, die zur urbanen Landschaft Belgrads gehören, zählen nach wie vor zu den bekanntesten und auffälligsten Gebäuden der Stadt. Die Skyline an der Südseite der Save wird heute von der - seit 1935 mit Unterbrechungen entstehenden und immer noch nicht vollendeten - serbisch-orthodoxen Kirche des Heiligen Sava dominiert. Als größtes Kirchengebäude Südosteuropas steht der Bau auf dem Hügel Vračar erhoben über der Stadt. Weitere, sofort erkennbare sakrale Silhouetten gehören zur - ebenfalls serbisch-orthodoxen - Kathedrale des heiligen Erzengel Michael, zu der - ein mittelalterliches Kloster im Kosovo nachahmenden - Kirche des Heiligen Markus sowie zur Bajrakli-Moschee aus dem 17. Jahrhundert, der einzigen noch erhaltenen Moschee, die in Belgrad aus der osmanischen Zeit stehengeblieben ist. Zur sakralen Topografie Belgrads gehören ferner zwei Kirchenbauten, die heute nicht vorrangig für ihre ursprüngliche Funktion als Heimstätte deutschsprachiger evangelischer Gemeinden bekannt sind. Der eine beherbergt das Bitef-Theater im Herzen des Stadtteils Dorćol, in der Nähe der Donau und des Stadtzentrums, der andere, im nördlichen Stadtteil Semlin (serb. Zemun, ung. Zimony) stehende, wird sogar von ansässigen Semlinern meistens fälschlicherweise als Synagoge identifiziert. Im Folgenden wird mit Blick auf die deutschsprachigen Evangelischen in Belgrad historischen Etappen und der heutigen Situation im Umkreis der beiden Bauten nachgegangen.

Czech modern architecture exerted a considerable influence on Croatia owing to the work of Czech architects in Croatia (e.g. on the construction of Bata's factory in Borovo), and more importantly due to numerous Croatian and Yugoslav architects who were educated at the Technical University in Prague. Marko Vidaković (Golubinci, 18 July 1890 – Zagreb, 5 January 1976) was one of the most significant. After attending the Vienna University of Technology for a year (1909-10), Vidaković studied intermittently at the Česká vysoká škola technická in Prague from 1910 to 1919. He played a key role in the emergence of modern architecture in Croatia through his efforts to organize the exhibition Czechoslovakian Contemporary Architecture in Zagreb (17 March – 1 April 1928) with the help of Zdenĕk Wirth from the Czechoslovakian Ministry of Schools and Public Education. Soon after the exhibition, Vidaković designed and built one of the first buildings of the international style in Zagreb, the villa owned by Ljudevit Pfeffermann at 27a Jurjevska Street (1928-29). This and his later architectural designs (such as the unexecuted design for the 1931 pavilion at the Zagreb Fair) show influences of works by Czech architects. Although Pfefferman Villa was his last built project, the unexecuted designs he created for various buildings in Zagreb (tram stop shelters, 1930 ; art pavilion, 1930), clearly attest to a great talent of this architect who adopted the vocabulary of modern architecture. He also played a major role in helping the international style spread in Croatia and Yugoslavia with his numerous texts published in the Ljubljana-based Architecture magazine as well as daily newspapers issued in Zagreb and Belgrade. During the Second World War he actively participated in the campaigns of saving Serbian children in the pro-fascist Independent State of Croatia.

Набавка наоружања из иностранства за потребе војске и морнарице краљевине СХС/Југославије.књ. 2, Набавке из Немачке и Велике Британије;
Аcquisition of weapons from abroad for the needs of the army and navy of the Kingdom of SHS / Yugoslavia. vol. 2, Аrocurement from Germany and the United Kingdom.

The author first discusses research dilemmas in studying continental Freemasonries. He lists the pro-Yugoslav activities of Serbian and Croatian freemasons during the Great War but dismisses as a myth the claims that Yugoslavia was created due to the influence of freemasons. In the main part of the paper, he discusses the content of the narrative of Yugoslavism, identifying two periods in the history of royalist Yugoslavism: Vidovdan Yugoslavism (1918–1929) and integral Yugoslavism (1929–1939/41). Yugoslavism is seen within the concept of civil religion, and the contribution of Yugoslav freemasons to the development of the concept is analysed.
Among Yugoslav freemasons, Viktor Novak, Vladimir Ćorović, Ferdo Šišić, Milan Marjanović and Niko Bartulović are singled out as the main codifiers of the Yugoslav civil religion. Special attention is given to the four main components of the concept of the Yugoslav civil religion as seen by leading Yugoslav intellectuals who were freemasons: 1) Vidovdan (St. Vitus Day) as the main holiday of Yugoslavism; 2) the construction and sacralisation of the “Yugoslav spirit” and “Yugoslav thought” in art (Rudolf Valdec and Ivan Meštrović) and in narratives (V. Novak, V. Ćorović, M. Marjanović); 3) the role of King Alexander as the archpriest of the Yugoslav civil religion; and 4) the efforts to build a temple of the Yugoslav civil religion – the Vidovdan (Kosovo) Temple designed by Ivan Meštrović. The question of the relationship between national and cosmopolitan elements in Yugoslav Freemasonry is also discussed. Finally, the paper explains the reasons why the Yugoslav civil religion was not able to be more successful in contributing to its overall aim: the creation of the “Yugoslav spirit”.

Keywords: Freemasonry, Yugoslavism, Yugoslav Civil Religion, Vidovdan, “Yugoslav Thought”, “Yugoslav Spirit”, Rudolf Valdec, Ivan Meštrović, Viktor Novak, Vladimir Ćorović, Milan Marjanović.

У овом раду разматраћемо музичка издања Јована Фрајта и Сергија Страхова која су публикована у периоду од 1921. до 1945. године у Београду. Увидом у сачуване делове колекција Фрајтових и Страховљевих издања, уз њихово допуњавање подацима из дневне штампе и периодике, те, мемоарске и архивске грађе могуће је да се начини делимична реконструкција поља популарне музике у Југославији која подразумева издвајање значајних композитора, текстописаца и извођача популарних песама из тог периода, као и жанрова и културних утицаја (САД, Немачка, Аустрија, Мађарска, Италија, Француска, СССР итд.). Поређењем тенденција у овој области на простору Југославије са тенденцијама у другим земљама пружа се основ за изношење претпоставки о својствима домаће популарне музичке продукције. Сврха тога је да се укаже на околности настанка аутономне југословенске популарне музичке продукције, као и да се размотри значај овог сегмента у истраживању југословенског друштва и културе тог доба.

The following work will be the perception of poem The Exploits of the ”Five Cockerels” Gang, by famous Serbian writer and surrealist Aleksandar Vučo, perceived through the prism of the education policy of the Kingdom of Yugoslavia. Beginning from the assumption that educational opportunities are a reflection of the reality of social relations, this paper explores the way in which Vučo in his poem presents the complex relationship between school system and childhood. Dealing with this poem in that context includes dealing with educational policy of the Kingdom of Yugoslavia and the main characteristics of the Yugoslav society, as well as with the autor’s perception of the child and childhood.

This article considers the turbulent period in Croatian history between the collapse of the ‘old’ Austro-Hungarian Monarchy and the creation of new states. The beginning of the period was marked by the partial liberalization of political circumstances in the Monarchy, and ended with the closure of Croatian and Serbian institutions in the city of Zadar in 1921. The collapse of the Monarchy was followed by the Italian military occupation of part of the eastern Adriatic coastline. Zadar was among one of the first places to be taken. The new circumstances affected both political and social life in Dalmatia. The article focuses especially on the small, well-positioned Serbian city community. Just before the First World War, it collaborated closely with the Italian community, but during the war, and particular in the post-war years, it worked more closely with the Croatian elite in the city, in response to Italian pressure. After the Italian occupation, both the Croatian and Serbian communities were exposed to political reprisals and uncertainty. As a result, most of the Serbian community left and almost all their institutions in Zadar were abolished.

Članak na osnovu građe iz Vojnog arhiva u Beogradu, memoara, domaće i inostrane literature rekonstruiše rad i organizacionu strukturu Vojne obaveštajne službe u Kraljevini SHS/Jugoslaviji od 1918 do 1941. godine. Posebno je naglašena njena saradnja sa savezničkim obaveštajnim službama od 1939 do 1941. godine. Štampan je na srpskom jeziku, ćiriličnim pismom.

This article focuses on German economic theory and plans for South-Eastern Europe in the 1930s and Yugoslavia's responses to it. By highlighting the opposition of Yugoslav economic experts, business leaders, press and officials towards the concepts of Grosswirtschaftsraum and Ergänzungswirtschaft, the article emphasises conflicting directions of economic development between the two countries; this would sooner or later lead to the confrontation, despite the level of political cooperation between the two countries.

This article deals with one of tactics used by Yugoslav state institutions against guerrilla and terrorist actions of the Internal Macedonian Revolutionary Organisation (IMRO). The first part explains different tactics used by Macedonian Organisation and counteractions of the Yugoslav services. Cooperation between Yugoslav Services and the Protogerovists of the IMRO is examined in the second part.

The Serbian Orthodox Church had a supportive role for the Yugoslav Foreign Policy and diplomatic actions in the interwar period, as it was helping the international activities of the Kingdom of Serbia until 1918. Mutual state and church actions toward the Ecumenical Patriarchy aimed to reorganise the Serbian Orthodox Church in the new kingdom’s boundaries and protection of Patriarchy’s position in Turkish republic. Frictions were emerging, while the new Serbian Patriarchy was backing Yugoslav interests in allied Czechoslovakia and against Italian penetration into the Balkans, as well as in competition for greater prestige among other orthodox churches. The relations between the Serbian Orthodox Church and Bulgarian Exarchate were determined by the Yugoslav-Bulgarian state relations, mainly concerning the Macedonian question. Since 1932 the two churches had been acting as a vanguard for rapprochement among the two nations and kingdoms.

THE JEWS IN MONTENEGRO IN THE INTERWAR PERIOD (1918-1941)

The main aim of this paper is to provide the first overview of Jewish presence in Montenegro in the interwar period (1918-1941). According to official statistics, there were 35 (1921) – 56 (1931) Jews living on the territory of present-day Montenegro, then part of royal Yugoslavia. Most Jews came during the observed period from other parts of Yugoslavia, usually for professional reasons. In the Bay of Kotor on the Adriatic coast, we also find descendants of Jewish families who settled in the area in the 19th century under the Habsburg empire. Apart from a comparative analysis of available demographic data, the article also focuses on the question of religious jurisdiction over the territorially dispersed Jews of Montenegro, who were considered as members of the Dubrovnik Jewish community. In the final section, the paper discusses the professional and life trajectories of several Jewish men and women who lived in Montenegro in the interwar period and left some traces in historical sources. 

Keywords: Jews; Montenegro; interwar period 1918-1941; demography; Kingdom of Serbs, Croats and Slovenes; Yugoslavia; religious and national minorities; Judaism

This article explores the use of photographs in Moritz Levy’s book dedicated to the history of Sephardic Jews in Bosnia, published in Sarajevo in 1911. While the photographs accompany the historical narrative and aim to prove the preservation and continuity of the unique Bosnian Sephardic identity throughout the centuries, they were, as the article argues, distinctly modern creation. Visually prominent and imbued with an aestheticized quality, they relied on Ottoman official albums of promotional photography, Austro-Hungarian orientalized images of occupied Bosnia and Herzegovina, and the new Jewish art.
As a result of this novelty, Levy’s book became a model for the way in which later Yugoslav Jewish publications presented Bosnian Sephardim. Due to the turbulent historical events in the region these images became politicized, assumed a memorial role, and have also recently inspired a renewal.

Својим уравнотеженим и већином критичким приказом догађаја Милошевићев текст је у потпуности на трагу Сећањима из рата Звонка Вучковића, међу историчарима једним од најцењенијих ратних мемоара. У одређеном погледу ови мемоари се и допуњују, с обзиром на то да је Вучковић био сведок догађаја у окупираној Србији до августа 1944, када је напустио земљу. Основна разлика је несумњиво што Милошевић по формацијској дужности често није био на самом извору догађаја и самим тим сведок или учесник доношења најважнијих одлука. Упркос томе сигурни смо да ће ови мемоари бити незаобилазна литература оних истраживача који имају амбицију да проучавају историју Равногорског покрета. Несумњиво, по темама које су заступљене и стилом којим су написани имају потенцијал да освоје и нестручну публику.

Despite the fact that in the history of Croatian architecture of the interwar period Expressionism neither took firm hold nor had the significance and reception like it had in Germany, there exists a whole series of architectural designs which display a pronounced influence of this style. In Croatian architecture Expressionism appeared roughly from around 1922 until the end of the 1920s and in the work of some architects even later, in the course of the 1930s. It occurred mainly under the influence of German and partly Austrian architecture and as a reflection of the incursion of Modernism, not as a result of the chaotic post-war climate, inflation or other economic changes. Architects of Croatian Expressionism did not form a homogenous group – they neither shared the same formation or social convictions, nor belonged to the same political circles. What they had in common were aspirations for the accommodation of architecture to the new world, its new needs and technical possibilities. Two German architects had a profound influence on the emergence of Expressionism in Croatian architecture – Hans Poelzig and Peter Behrens. Hans Poelzig trained three Croatian architects who in the course of the 1920s produced designs influenced by Expressionism: Drago Ibler, Zdenko Strižić and Josip Pičman. Especially important is the oeuvre of Drago Ibler, who created a whole series of Expressionist projects, most of which remained unbuilt. Particularly significant are his designs for the Epidemiology Institute (1922), for the Central Workers’ Insurance Office (1923) and for the Trading High School (1928) in Zagreb. His most important executed work of the 1920s was the interior of the theatre section of the pavilion of the Kingdom of Serbs, Croats and Slovenes at the 1925 Exposition internationale des Arts décoratifs et industriels modernes in Paris. Between 1926 and 1943 Ibler was the head of the Department of Architecture of the Academy of Fine Arts in Zagreb. Some of the architects trained at the Department, like Stjepan Planić, embraced Expressionist aesthetics. Peter Behrens’s influence on the emergence of Expressionism in Croatian architecture occurred through the work of his disciples educated at the Viennese Akademie der bildenden Künste (his most important Croatian disciple was Juraj (Georg) Neidhardt), as well as through his participation in the construction of the Zagreb City slaughterhouse complex. Behrens was the representative of architect Walter Frese from Berlin, who in 1928 produced the design for the city’s slaughterhouse, constructed between 1929 and 1931. Stylistic features of the buildings of this complex display a combination of elements of Expressionist and Neue Sachlichkeit architecture. Besides Behrens’s and Poelzig’s disciples, a number of Zagreb architects of the older generation also designed under the influence of Expressionist aesthetics. Among the most important is Ignjat Fischer, designer of the interior of the City Café at the Ban Jelačić Square in the very centre of Zagreb. It was executed in the years 1929-31 and represents the most important example of Expressionist architecture in Croatia. The City Café was designed under the influence of Poelzig’s works, more precisely of his most important building, the Grosses Schauspielhaus in Berlin. Almost at the same time, in 1928-30, the same square was embellished by the hotel and department store building owned by Svetozar Milinov and designed by Dioniz Sunko, which originally included an advertising tower with elements of Backsteinexpressionismus. A number of designs related to Expressionist architecture can be associated with the so-called Foundation block planned in the centre of Zagreb in late 1920s and early 1930s (among which stand out designs by Stjepan Planić, and Josip Pičman and Josip Seissel). From that time on, the International Style started to become fully dominant in Croatian architecture.

U periodu modernizacije jugoslovenskog društva, sokolski domovi su najčešće predstavljali ključne, a često i jedine lokacije gde se odvijao kulturni život, naročito u manjim mestima. Sokolski dom je bio centar gde je sokolsko društvo, osim bavljenja sportom u gimnastičkoj sali, sprovodilo svoju kulturno-prosvetnu misiju kroz raznovrstan program. Pored kulturno-prosvetnog sadržaja, sokolski domovi su često bili i nosioci urbane modernizacije. Mnogi primeri pokazuju da su ovi objekti bili najbolje opremljeni u mestima gde su podizani. U radu će biti načinjen poseban osvrt na značaj koji su ovi objekti imali u modernizaciji jugoslovenskog društva u periodu između dva svetska rata.

Državni organi Kraljevine Jugoslavije u godinama uoči izbijanja Drugoga
svjetskog rata pratili su aktivnosti raznih separatističkih organizacija koje su bile nezadovoljne položajem svojih nacija u Kraljevini. Vrhovni generalštab (Glavni đeneralštab) preko obavještajnog je odjela pratio što se događa među makedonskim, albanskim i hrvatskim emigrantima te je svaka tri mjeseca izvještavao o njihovu djelovanju. Kopije tih izvještaja već se nekoliko desetljeća nalaze pohranjene u Institutu
za nacionalnu istoriju u Skopju, u dokumentarnom odjeljenju. U dvojezičnom (albansko-makedonskom) izdanju Makedonskog državnog arhiva (Državen Arhiv na Republika Makedonija) objavljeni su dokumenti koji se odnose na Kosovski komitet. Zahvaljujući Muzaferu Bislimiju, uredniku toga izdanja, kopije dokumenata koji se odnose na Hrvatski komitet (ustašku organizaciju) u ovom će se radu prezentirati hrvatskoj javnosti. Izvršena je transliteracija s ćirilice na latinicu, ali je tekst prenesen u originalu – na srpskom jeziku, uz sve jezične nepreciznosti i
netočnosti koje se u njemu nalaze. Budući da sam bio u posjedu samo onih dijelova teksta koji se odnose na Hrvatski komitet, u priređivanju dokumenata za čitanje pomoglo mi je spomenuto makedonsko izdanje pa sam u većini slučajeva mogao odgonetnuti kada je i tko pisao izvještaje te kome su oni bili namijenjeni.

Analizirajući tekstove rezolucija kongresa, konferencija i
proglasa Komunističke partije Jugoslavije nastojali smo da prikažemo
osnovne tendencije u nacionalnoj politici jugoslovenskih komunista prema
srpskom narodu i šiptarskoj nacionalnoj manjini na Kosovu i Metohiji
u periodu od obnove partijskih struktura u Srbiji 1937. do početka
Drugog svetskog rata u Kraljevini Jugoslaviji 1941. Istraživanje je
zasnovano na dokumentima pohranjenim u Arhivu Jugoslavije, objavljenim
izvorima partijske provenijencije, tekstovima vodećih jugoslovenskih
komunista i literaturi.

Rad na osnovu građe iz Vojnog arhiva u Beogradu, objavljenih izvora i literature daje pregled razvoja teške motorizovane artiljerije u Vojsci Kraljevine SHS/Jugoslavije i rekonstruiše učinak ovih jedinica u kratkotrajnom Aprilskom ratu 1941. godine. Objavljen je na srpskom jeziku i ćiriličnom pismu.

Beograd je tokom međuratnog perioda doziveo ekspanziju stambene gradnje zahvaljujući velikom prilivu stanovništva iz cele zemlje. Hroničan nedostatak životnog prostora i stalno širenje grada izvan zakonskih granica prouzrokovali su donošenje strogih parametara na osnovu kojih će se sprovoditi urbanistički plan Beograda iz 1923. godine. U radu će biti reči o značajnijim ostvarenjima na polju stambene arhitekture u Beogradu 1926. godine kada je zabeležen najveći broj izrađenih objekata. Sredina treće decenije karakteristična je po tome da je u tom periodu vladao veliki diverzitet arhitektonskih stilova koji su bili posledica ukusa investitora, ali i različitih senzibiliteta projektanata. U tom periodu javljaju se nove tendencije, poput folklorizma, dok arhitekti pokazuju sklonost ka eksperimentisanju, što će dovesti do pojave moderne arhitekture već naredne godine. Kroz pregled projektantske delatnosti 1926. godine biće prikazani glavni tokovi beogradske međuratne arhitektonske scene.

У овом раду настојали смо да анализирамо ставове Милована Ђиласа према Црној Гори, њеном државноправном положају и односу према Србији, као и националном осећању црногорског становништва, односно афирмацији црногорске нације током и после Другог светског рата. Истраживањем је обухваћен период од средине тридесетих до средине деведесетих година двадесетог века. Рад је заснован на текстовима Милована Ђиласа, чланцима у Борби, Комунисту, сећањима његових савременика и сарадника.

The paper is based on the records of Military Archive in Belgrade, data from Official Military Gazette of Kingdom of Yugoslavia and literature. It emphasizes to reconstruct the activities of Yugoslav military intelligence towards Italy in the period between First and Second World War. Author has concluded that Yugoslav intelligence network was poorly developed on most of the Italian territory. Its activities were mostly focused on the Italian border zone (province Venetia Julia), settled by the Yugoslav minority population. In addition, the service supported Croatian and Slovenian irredentism on that territory. The Yugoslav military attaché in Rome also collected intelligence information mostly using as sources the members of the Yugoslav minority and Yugoslav citizens working on the Italian territory. He also obtained information from foreign military representatives, with a friendly attitude towards Yugoslavia, whose countries had much more finances and a much better‐developed network of agents and informants on the Italian territory. The greatest successes of the Yugoslav military intelligence towards Italy were achieved particularly thanks to the engagement of Yugoslav minority members, infiltrated at the time in all cells of Italian society.