Branislav Jakovljević's study on performance and self-management in Yugoslavia and Armin Medosch's research on New Tendencies and post-Fordism share a number of analytical frameworks that the review argues partake in a broader shift towards political economy as a key framework for art historical inquiry. This shift elicits what could once again be called a world-historical perspective: both of these books anchor their narratives in post-war Yugoslavia but only in order to show that the telling of the story of Yugoslav art requires the telling of the story of the world, a story that is not simply an instance of global or transnational (art) history. Instead, these accounts affirm a certain political teleology; they (re)turn to Yugoslavia to recall something that is lost, a ruptural, future-bound history that never saw its future, and whose interrupted course they historicize, offering a recourse to historical understanding as a step towards a new strategy of resistance.

中文翻译：

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作为世界历史的南斯拉夫：自我管理艺术的政治经济学

布拉尼斯拉夫·雅科夫列维奇（BranislavJakovljević）对南斯拉夫的绩效和自我管理的研究以及阿明·梅多许（Armin Medosch）对新趋势和后福特主义的研究具有许多分析框架，该评论认为，这将使政治经济学成为艺术史探究的主要框架，从而向更广泛的方向转变。这种转变引出了可以再次被称为世界历史观的观点：这两本书的叙述都以战后南斯拉夫为基础，但这只是为了表明对南斯拉夫艺术故事的讲述需要对世界故事的讲述。世界，这个故事不仅仅是全球或跨国（艺术）历史的一个实例。相反，这些说法肯定了某种政治目的。他们（重新）回到南斯拉夫，回想起丢失的东西，破裂，受未来约束的历史，从未见过它的未来，