دانلود کتاب من Jugoslovenka هستم! سیاست عملکرد فمینیستی در دوران سوسیالیسم یوگسلاوی و پس از آن

The Socialist Federal Republic of Yugoslavia (1945–1992) represents one of the most intriguing and paradoxical examples of women’s emancipatory power during twentieth-century socialism. The most politically West-leaning of all the socialist countries during the Cold War, Yugoslavia became a place where new trends in avant-garde art and film flourished while Marxist maxims held sway, antifascist ideology reigned in tandem with sex and rock and roll, and women enjoyed more legal rights and social mobility, including access to education and labor mobility, than in any other East European and some Western countries. In August 1945, women were legally declared equal to men; as early as 1951, lesbian sex was decriminalized (and by 1977, homosexual¬ity); abortion was legalized in 1952, and paid maternity leave and the right to divorce were socially and legally accepted by the 1950s. In fact, as early as 1928, some seventeen years before the founding of Yugoslavia, a leaflet dis¬tributed by the communist and partisan leader Josip Broz Tito—who would become the president of Yugoslavia in 1945—declared that women were essen¬tial to fighting the bourgeoisie’s “imperialist war” and invited them to join the Communist Party in large numbers to “fight till the end for the liberation of the working class.” In 1936, the magazine Žena Danas (Woman Today) was founded, and its first issue, titled “Novi feminizam” (New Feminism), emphasized that “the fight for women’s rights is the fight against fascism.” The Anti-Fascist Front of Women of Yugoslavia (AFW) was founded in the midst of World War II (1942) and had over two million members by the end of the war.
By 1953, all this extraordinary advancement for women led the male-dominated Yugoslav communist elite to declare that it had reached its goal of the liberation of women and that feminism was thus obsolete—not just obso¬lete, but as a political movement, ran counter to the larger goal of the libera¬tion of the people, and was therefore self-interested and divisive. The AFW was abolished in 1953, and many women were asked to retreat back into the sphere of the home. Historian Jelena Batinić’s research has shown that partisan women, who were an indispensable force during World War II, were suddenly left off of “the conscription lists for the Yugoslav army” and out of the history books. The arts, too, in the immediate postwar period, became dominated by men. Ljubo Babić, who had cooperated with the Ustaša, the Croatian fascist movement, but who was close friends with elite communists such as Miroslav Krleža during the socialist era, became one of the most influential figures in the cultural sectors of socialist Yugoslavia. What many overlook, or do not know, is that he often repressed the work of women artists, including that of Nasta Rojc, a lesbian artist who actively supported the antifascist struggle. In Autoportret u Lovačkom Odijelu (Self Portrait: Hunter) (1912), Rojc is standing in an impressive profile pose with a large gun slung over her right shoulder. Her serious and self-assured gaze instantly embodies Yugoslav women’s emancipatory strength and swagger. Because Babić, as the teacher of many Yugoslav artists who went through the academy after World War II, did not support her work, she has been missing from many history books from the period. Only recently, such as in the curatorial work of queer art historian Leonida Kovač, has the work of Nasta Rojc been reintroduced in art historical discourses; for example, being featured at the Art Pavilion in Zagreb in 2014.