one hand , there was a previous tradition of monument production that cannot be neglected ( after all , Spomenik merely means ‘ monument ’ in the South Slavic languages ). On the other hand , shaping a series of cultural models and policies in a changing socialist context also marked the production of these monuments . In this context , the book explores the production of monuments by craftsmen and local communities based on their own agendas , as well as the major artistic productions sponsored by large institutions and federal entities . Monument
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