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Simpozij OBDOBJA 42 practices are recognized by the very art system they challenge, they enter into the system (Breznik 2011; Đorđević 2019; Pantić 2019a, 2019b). The opposed positions in the »conlfict on the literary left« can accordingly be classiifed in the following way: – Surrealists: their ideology was avant-gardist generalized skepticism. – Social art was a post-avant-gardist practice, and its ideology was general skepticism. In their view, authentic practices should challenge and subvert the 3 bourgeois cultural and art systems in general. 3 The median position It is now possible to understand the diiffculty of the position adopted by Miroslav Krleža in the debate on the left (Krleža 1934, 1939a, 1939b, 1939c; Lasić 1987; Kalezić 1990; Visković 2001). Although he opposed bourgeois art and avant-gardisms (i.e., rejecting both speciifc and generalized skepticism), Krleža was unwilling to adopt general skepticism, and he wanted to safeguard a minimal core of aesthetics (i.e., of speciifc skepticism). A contradiction between the rejection of bourgeois aesthetics and of the avant- gardist challenge on the one hand – and, on the other, the pretension of safeguarding the aesthetic ideology and its institutions – is also characteristic of Soviet socialist realism and the »new realism.« In socialist Yugoslavia after the break with cultural »dogmatism,« the artistic mainstream avoided this contradiction by embracing the bourgeois aesthetics entrenched in national cultural institutions (Pantić 2018). 4 Partisan literature: a post-bourgeois artistic practice On the margin of the »conlfict on the left« and against the background of anti- bourgeois general skepticism, Slovenian social writers subjected aesthetic ideology itself to aesthetic secondary elaboration. They exposed the blind spot of aesthetic ideology, the sociohistorical determination of artistic practices, and subjected it to relfexively conceived procedures of artistic re-elaboration. Progressive and revolutionary writers were refusing the established literary forms and would have logically opted for avant-garde procedures. However, they were aware that they could not address the masses with avant-garde extravagance. Blocked by this impossibility, they reverted to the forms disseminated among the masses by the dominant ideology, to the material of school literature, and to forms of popular devotion. However, prewar »social art« remained enclosed within the small world of the »educated public,« where its work on the dominant ideological forms was understood as stylistic moderation, »concreteness,« and loyalty to tradition. It was only with the armed resistance and revolution that the problem of how to reach the masses imposed 3 In Yugoslavia, modernism was additionally discredited by the »modernist intimist aestheticism« being oiffcially promoted by the proto-fascist Yugoslav regime after the January 6th dictatorship in 1929 (Pantić 2014, 2019c). 153