Abstract
Abstract Only a few years after Yugoslavia was excluded from the Cominform, Tito and his ideologists adopted the term third way as a keyword to designate the Yugoslav politics between East and West. Originally, the term had been coined by the Soviets to denigrate what they perceived as an impossible compromise between Capitalism and Communism. Soon, Yugoslav politicians turned it into a positive slogan. In 1950, the Croatian writer Miroslav Krlezha organised a monumental exhibition of Yugoslav medieval art in the Palais de Chaillot in Paris. He presented the medieval Bosnian sect of the Bogomils with its special form of “socialism” as anticipation and a historical legitimation of Yugoslav sovereignty. Other theoreticians such as the Serbian writer Oto Bihalji-Merin compared Tito and his partisans to rebellious Bogomils. The essay retraces the development of that myth, touching also on cinema and later phases of political propaganda.
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