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Nasleđe
2005, br. 6, str. 85-106
jezik rada: srpski
vrsta rada: neklasifikovan

Efemerni spektakl - proglašenje Kraljevine Srbije 1882
Afilijacija nije data

Sažetak

(ne postoji na srpskom)
The effectiveness of art as a medium for communicating political messages is evidenced by the festivities organized in Belgrade and other towns on the occasion of proclaiming the Kingdom of Serbia in 1882. They are indicative of the importance of this art genre in the context of the realization of a major political and historical act that meant the consolidation of the modern Serbian state. In Serbia in the second half of the nineteenth century, the ruler's legitimacy derived from the cult of the medieval Nemanjić dynasty but the cults of the contemporary Obrenović dynasty were being increasingly emphasized. In King Milan's royal ideology the cult of Stefan the First-Crowned played a prominent part, primarily for the practical reason of confirming the new Serbian king's legitimacy and proclaiming Serbia a kingdom. Three important factors led to the decision to proclaim a kingdom the gaining of independence in 1878, the proclamation of Romania as a kingdom in 1881, and the government's failure to make a contract for railway construction. The goal of the decision was to divert public attention from the political crisis in the country. The form of ephemeral spectacle was determined most of all by the political situation in Serbia in the early 1880s. In keeping with the Orthodox church practice of several-day coronation festivities, the celebration of the proclamation of kingdom assumed a complex form. As the celebration in Belgrade lasted for three days, its concept may be divided into three segments. The first part of the celebration took place on the streets and squares, and may be interpreted in terms of the social and public function of the act. The second segment was the church ceremony, which emphasized the religious nature of the celebration and the dependence of the political act on Christian traditions. The political aspect of the event was underscored by the third segment, which took place at Court. A component of the spectacle was the king's journey which in addition to a tour of larger Serbian towns included a visit to holy places, Studenica and Žiča. A thus conceived "royal journey" was to become an integral part of the coronation ceremony. It meant the institution of a "new", or the restoration of the "old", tradition of coronation in Orthodox monarchies. The complexity of the ephemeral spectacle honoring the proclamation of the Serbian monarchy resulted from the visualization of political ideas through the unity of all art forms. In addition to the political situation, the form and content of ephemeral spectacle in Serbia in the second half of the nineteenth century was also determined by tradition, which comprised the Ottoman legacy on the one hand, and the Orthodox ecclesiastical tradition and the European cultural and artistic model, on the other. The presence of three different cultural models gave a distinctive flavor to ephemeral spectacle as a political and cultural activity.

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