Abstract
In this paper, the appropriation of the Sarajevo assassination in popular music from the 1990s onwards is critically examined. The specific culture of remembrance that prevails in this field is opposed to any establishment’s demands for appropriate revision of history. Delivered in popular culture, such demands – as it is with the Sarajevo assassination and the First World War – cannot reach a projected epilogue, because popular culture is a field marked by various forms of resistance, violence, and terror. Even though in the paper we discuss the realpolitik hopelessness of resistance culture in contemporary, globalized popular music, we believe that the traces of rebellion and violence are of great importance for understanding the specific forms of enjoyment in the field of popular culture, in which we also see the justification for the great popularity Gavrilo Princip still enjoys today.
Publisher
University Library in Kragujevac