Abstract
The gestural performance of the physical body vehicle shape which consequently became known as the Three-Finger Emblem presents a kind of the cultural invention in the Serbian culture in the last decade of the 20th Century. This paper deals with this phenomenon from the socio cultural anthropological viewpoint founded on the methodology of gesture studies: the issue of interest includes matters of ethnicity and identity, as well those of gesture morphology, semantics and motivation.
Highlights
I don’t find necessary to bother anyone of what happened in former Yugoslavia during the last decade of 20th Century
The aim of this paper is to present the gestural fact which - just maybe - has appeared as the visual coocurance of many diverse situations portrayed the Serbian side in the everyday-life frame much broader than wars themselves
It is obvious that there is neither visual/morphological nor essential relation of the handshape described to the concepts of “Serbia“/“srpstvo“, but the verification of this emblem is succesful by total percentage
Summary
I don’t find necessary to bother anyone of what happened in former Yugoslavia during the last decade of 20th Century. Both the performance and the meaning of this gesture have been accepted by the Serbs living in Croatia and Bosnia-Herzegovina, who infact mostly supported Milo{evi}’s politics of the time, and the relation physical movement/symbol/ concept(s) has been established to temporaly coincide the first clashes of Yugoslav civil war.
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