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Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918
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The Presentation of the Habsburg Dynasty in Bosnia and Herzegovina 173 dynastic feelings”, but also to create “a sense of an aura that His Majesty emanates”.42 Considering its setting, it could have had an effect only on those who already were close and loyal to both the regime and the dynasty. According to some interpretations, sculptures with figural plastic as well as the representations of the Habsburgs were not raised in public spaces in order to “avoid unpleasant reactions” from the local population43, who were mainly “Muslim and Orthodox Christians to whom their faith prohibited the creation of cut and cast figures”.44 Due to the rule of the Ottomans that had lasted for several centuries, there was no established tradition of making sculptures in the country, and the sculptural activity was not even developed in the period of the Austro-Hungarian administra- tion either, although there was a need for it.45 However, it should be taken into ac- count that the religious sentiment of the local population was often ignored, regard- ing even much more sensitive issues than the raising of figural monuments in public spaces.46 The real reason for the lack of a more considerable number of monuments with images honouring the Habsburgs primarily needs to be sought in the unsettled political status of the country, which was formally and legally under the sovereignty of the sultan up until the annexation in 1908.47 Only in this new political period after 1908 will the representation of the Emperor gain importance, and the more so because the repressive policy will give place to the strengthening of the local struc- tures which will wish to pay tribute to Franz Joseph I on their own initiative. Annexation period 1908–1914 Bosnia and Herzegovina entered a new political era on 5 October 1908 when the annexation of the country was conducted by the Emperor’s proclamation. The fight for religious autonomy, the strengthening of national movements and an intensifying participation of the local structures in public and political life led to the adoption of the constitution which was proclaimed in 1910, and soon after the formation of the Parliament as the Representative of Commons. Although neither the annexation nor the occupation in 1878 were greeted with enthusiasm by all the social strata, the idea of introducing a parliamentary government and the idea of greater civil rights and freedoms created a sense that a step was being taken towards the democratisation of political relations.48 Thus, the pro-regime oriented circles in the country gave high importance and a festive character to the annexation. In that manner, they thanked the Emperor himself for the measures he had taken to define the political and legal status of the country and they expressed once more their “vassal loyalty and filial love” for him. In this context, one can view the new attitude towards monuments
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Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur 1618–1918
Representing the Habsburg-Lorraine Dynasty in Music, Visual Media and Architecture
Title
Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur
Subtitle
1618–1918
Editor
Werner Telesko
Publisher
Böhlau Verlag
Location
Wien
Date
2017
Language
German
License
CC BY 4.0
ISBN
978-3-205-20507-4
Size
17.0 x 24.0 cm
Pages
448
Categories
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Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur