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Simpozij OBDOBJA 42 itself with urgency. In a very short time, Partisan artistic practices retraced the itinerary of prewar »social art« and reached beyond its limitations.4 Partisan artistic practices radicalized their attitude and, while occasionally still working on ideological forms of the school apparatus, they turned toward »popular« forms. 5 Artistic practices in socialism In the socialist period, there were at least two outstanding types of appropriation of cultural forms. One strategy was the straight adoption of international literary trends. The other strategy was the import of international mass culture fashions. The appropriation of existentialist dramatic procedures in the work of Primož Kozak is examined ifrst, and then the rearticulation of punk rock in the Yugoslav alternative scene. 5.1 Straight import Primož Kozak was an outstanding member of the »critical generation,« the group that, according to Lev Kreft (1998: 147), proposed the program of »direct democracy 5 6 and social self-management.« He was an author of Yugoslav relevance and arguably the best dramatist of the socialist period in Slovenia. Kozak makes Sartrean existential agonistic dialogue the aesthetic principle of his plays. However, he appropriates it as a strictly aesthetic procedure, only after having ifrst emptied it of its ideological content. In a critique of Satre’s Huis clos, Kozak (1950) approvingly analyzed Sartre’s art, contrasting it against his philosophy, which for Kozak only expressed the cultural dead end of the European bourgeoisie. It should be noted that Kozak’s procedure belongs to the modern (»bourgeois«) cultural apparatus. The existence of bourgeois culture depends upon its being ideologically perceived as an autonomous sphere. Its elements are produced and reproduced as being »independent« from their sociohistorical conditions of possibility. Kozak’s procedure contrasts with the practice of the »social art« of the 1930s that rearticulated canonical aesthetic »forms« to break out of the cultural closure. Adopting Sartrean dramaturgical procedures, Kozak reproduces them as »cultural forms,« as elements of the bourgeois autonomous sphere of culture, and in this way he reproduces the very bourgeois character he denounces in these same elements, taken as ideological forms.7 4 For an extensive discussion of Yugoslav Partisan art, see the thematic block in Slavica tergestina 17 (Habjan, Kirn 2016) and Miletić and Radovanović (2016). 5 The group reached their apogee in their journal Perspektive (1960–1964). For a historical analysis, see Centrih (2009); for a critical presentation of historiographical accounts of the journal and the group, see Močnik (2015). 6 Afera, the prize for the best staging at the Sarajevo Festival of Small Stages, 1961; prize for the text of Kongres at the Sterijino Pozorje theater festival, 1969; ifrst prize at the competition of the Yugoslav Television for Direktor, 1970; Prešern Fund Prize for the travelogue Peter Klepec v Ameriki, 1973. 7 See Kozak’s plays: Dialogi (1958), Afera (1961), Kongres (1968), and Legenda o svetem Che (1969). 154