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Simpozij OBDOBJA 42 Consequently, the prevailing opinion (Kermauner 1998; Kreft 1998) that Kozak’s dramas artistically formulate a left critique of post-revolutionary domination that was presumably the general sociopolitical project of his group seems inadequate. Characteristically unable to formulate a political alternative to the practices of post- revolutionary domination,8 the »critical generation« engaged in purely cultural, predominantly literary practices, thus continuing the nineteenth-century model of 9 »cultural critique« based on belles lettres. Social art and Partisan art appropriated bourgeois aesthetic and folkloristic clichés in order to submit them to the aesthetic secondary elaboration from the perspective of emancipatory politics. Kozak, on the other hand, took Sartrean dramaturgy as a »cultural form,« as if, by being appropriated as an ideologically neutral aesthetic procedure, it could have been separated from its structural determination (in Kozak’s own terms: from its »bourgeois blockade«). Kozak practiced a pre-avant-garde notion of »culture« as reservoir of presumably timeless values disconnected from their sociocultural conditions of production. In Kozak’s dramas, as in the works of the »critical generation« in general, the cultural sphere was reestablished in its autonomy, whereas the achievements of the avant-gardes, of the social and Partisan artistic practices, were lost. 5.2 Strategic rearticulation The cultural form of punk rock was imported naively, and its transfer into the Yugoslav popular music scene seemed an effect of the hegemony of the Western cultural industry. However, three features of this transfer are reminiscent of the appropriation of hegemonic ideological forms by the social literature of the 1930s. 1. Punk rock was radically appropriated in its sheer materiality: with the minimalism of its instrumentation and its practice of rough amateurism, it was easily adopted by culturally expropriated masses of Yugoslav youth. In Yugoslavia, punk rock may have been the ifrst youth mass culture produced from the bottom up, and maybe even the ifrst cultural movement in absolute terms, where smaller cities and even provincial towns were successfully challenging metropolitan centers. 2. In addition to the popular and even proletarian dimension, paradoxically supported by an originally hegemonic and commercialized cultural form, Yugoslav punk rock is reminiscent of prewar social literature by being adopted by an emerging alternative scene. The »alternative,« as it self-identiifed, was an all-Yugoslav conglomerate of new social movements, independent political and cultural initiatives, independent media and journalism, theoretical production, un-orthodox entertainment venues, and so on. In addition to its artistic and theoretical output, the alternative was the social base of important political 8 Kreft (1998: passim) extensively discusses this inability or unwillingness, and he relates it to the speciifcities of Yugoslav socialism. 9 The »critical generation« was hegemonic in Slovenian culture until approximately 1968; its more or less distinct, albeit already anachronistic, presence persisted until the establishment of Nova revija in 1982. 155