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Simpozij OBDOBJA 42 achievements of the 1980s, especially, at least in Slovenia, of the effective freedom of expression from 1984 onward (Močnik 2021). 3. Yugoslav punk rock was the galvanizing element of a new popular culture that resulted from the self-organization of young people. In this, it went beyond the project of the 1930s social art, whose program (which was not really achieved) had been the construction of an authentic working-class culture. Punk rock and its concomitant alternative scene actually succeeded in producing a genuine Yugoslav »culture«: it carried in itself the promise of an alternative socialist future – had not its preconditions been destroyed together with the socialist federation.10 6 To conclude The schematic ideas are summarized here. Every radical artistic practice has to deal with the dominant ideologies of its time. Those practices that are committed to radical sociohistorical transformation have to confront the repressive heritage in a double way: as an obstacle to artistic invention and as a constraint upon its socialization. The social art of the 1930s resolved this task by rearticulating traditional hegemonic cultural forms into a new artistic formation. During the Second World War, Partisan art radicalized the procedures invented by social art and abolished the bourgeois closure of the autonomous cultural sphere. In the practices of the postwar »critical generation,« the autonomous cultural sphere was reestablished, and the avant-gardist and revolutionary achievements were lost. Finally, in the speciifc Yugoslav context of the late 1970s and early 1980s, the spontaneous appropriation of commercialized pop-cultural punk rock produced a new »bottom-up« and all-Yugoslav culture that was not destined to last. Bibliography BAHTIN, Mihail M., 2000: Frejdizm. Formalʼnyj metod v literaturovedenii. Marksizm i iflosoifja jazyka. Statʼi. Moskva: Labirint. BREZNIK, Maja, 2005: La borsa e la cultura. Metis. Ricerche di soziologia, psicologia e anthropologia della comunicazione. XII/1. 73–98. BREZNIK, Maja, 2010: General Skepticism in the Arts. Primerjalna knjǐzevnost. XXXIII/2. 243–255. Online. BREZNIK, Maja, 2011: Posebni skepticizem v umetnosti. Ljubljana: Sophia. BREZNIK, Maja, 2013: Lʼoubli épistémologique: les ancrages du savoir dans lʼhistoire culturelle. Filozoifja i društvo. XXIV24/4. 5–18. Online. CENTRIH, Lev, 2009: The Journal Perspektive and Socialist Self-management in Slovenia: In Search of a New Anti-Stalinist Society: Towards a Materialist Survey of Communist Ideology. The International Newsletter of Communist Studies XV15/22. 69–91. Online. 10 Within the limits of this article, it is not possible to analyze the contradictions that led certain groups and individuals of the Yugoslav rock and punk rock scene to adopt reactionary positions in the late 1980s and later. These later developments justify, for example, the following acerbic criticism: »The punk of the eighties was anti-regime, anti-communist. [. . .] However, our ‘punks’ understood anarchism on the level of the petty bourgeois semantics: as chaos« (Zadnikar 2004: 210). 156