From Agram to Zagreb:

the Austro-Hungarian Legacy in

Tourism Discourses of Croatian
Capital

Olga Orlić and Anita Sujoldžić

Institute for Anthropological Research, Zagreb
 Outline of the presentation
 Introduction: about TIDA project
 Theoretical issues

◦ Cultural heritage, Tourism and Representation

◦ Heritagization, Authorised Heritage Discourse

 Methodology
 Case study: Zagreb
 Conclusion
 Historical Perspectives on Transnationalism and
Intercultural Dialogue in the Austro-Hungarian
Empire (TIDA)

Project: funded by Croatian Science Foundation

Project leader: Prof.dr.sc. Anita Sujoldžić

 Aim: tocounterbalance the historiographic approach to the

Austro-Hungarian Empire in Croatia based on national canons
and national identity

Focus: cultural and linguistic heterogeneity and transnational

practices; intercultural identity, representational practices
 Theoretical issues

 Culture as a resource (Burns, 1999)

 Culture vs. Heritage?

 Cultural heritage
 Theoretical issues
 Cultural heritage, Tourism and Representation
 Cultural heritage in tourism

 Partial and sometimes not true collection of pictures chosen to be

represented (Watson and Waterton, 2010)
 Heritage is represendted partially, as a result of ideologically
motivated processes of selection

 Authorised heritage discourse (Smith 2006)

 Methodology
 Critical discourse analysis

 Official site of Zagreb Tourist Board (ZTZ)

 Visual and textual representations of Zagreb

◦ Internet as legitimate ethnographic research field

(Senjković and Pleše, 2003)

◦ Focus: Representation of Austro-Hungarian heritage in

Zagreb
The city of Zagreb
• Through Middle Ages
comprised of two units:
• Gradec: free royal city status
since 1242 granted by the
Hungarian King Bela IV
• Kaptol: Bishop’s Diocese

• Since 16th century within the

Habsburg’s monarchy

• 1850
• United into a single city
• Capital of Croatia and
Slavonia
• small trading and craft center
 Agram – Zagreb
1850 - 1910
• 1862 railway construction
• Modernization and industrialization
• Immigration of skilled and unskilled labor (from villages,
other Croatian areas, Austria, Bohemia, Moravia, Slovakia)
• Foreign capital linking trade, banking and industry
• Jews dominate as skilled labor (bankers, doctors, architects)
and investors
• 1880 big earthquake – turning point in reconstruction and
expansion of the city
• Development of local urban middle-class educated in
Vienna, Budapest
• Strong national and cultural revival, education
 1898

Population increase
(without bordering
areas)
1857 - 16.657

1880 - 28.388

1890 - 37.529

1900 - 61.002

1910 - 79.038
 City development
• Since 1880 earthquake intense construction
– 1880-1890 about 700 public and residental
buildings
– Banks, schools, hospitals, large military quarters,
factories, parks, churches
• Water supply system and sewerage system
• City electrification in 1907
• Public transport: horse tram (1891) electrical
(1910)
 Main square
1880 before, after
earthquake
and today

1910
Mill factory Chicory (coffee) Factory

Leather factory Brewery

 Research questions

How is Austro-Hungarian cultural heritage

represented on the tourist board websites?

Which cultural heritage, i.e. which elements have

been chosen for representation?

What can we infer from answers to these questions

concerning the dominant ideological discourse
governing the process of representation?
 Results
Geopolitical and cultural positioning of the city:

• The city of Zagreb, capital of Croatia, on the

historic and political threshold between East and
West
• From 1850 onwards key period for the
development of the city into modern Central
European and national capital
• This atmospheric mix of small town and luxurious
Central-European metropolis raised Zagreb to
the level of contemporary cities to be reckoned
with during the nineteenth century.
 Austro-Hungarian legacy
Very few historical facts of the period without any references to
political context :

• The disastrous earthquake of 1880 sparked off the reconstruction

and modernization of many shabby neighborhoods and buildings.
Prestigious public buildings were erected, parks and fountains were
made, and transportation and other infrastructures were organized.

• ... Schools and hospitals were opened, and the manners of

European capitals were adopted. The city outgrew its medieval
borders and spread to the lowlands. The first parks and country
houses were built.

• The city lived in the plenty of a civil society, with firm links with all
the central European centres .
 Austro-Hungarian legacy - direct
references

Yellow-tinted façades and lines of wild chestnut

trees echo the era when Croatia was part of the
Austro-Hungarian dual monarchy.
The Croatian National Theatre is another key symbol of Zagreb. When night
falls upon the streets and squares of the city, another life is starting here – on
stage. It has been this way since 1895, when the Habsburg Emperor Franz
Josef ceremoniously opened the theatre with a silver hammer as if saying: ‘Let
the show go on’.

The Croatian National Theatre is located on Marshal Tito Square, which is

named after Josip Broz Tito (1892 – 1980), former president of the Yugoslav
Federation. ....Well-known Viennese architects Ferdinand Fellner and Herman
Helmer, who designed forty other European theatres, were responsible for the
plans for the building, employing a rich Neo-Baroque style that was at the
time thought most suitable for theatres.
 Implicit references to K. und K.
Visual analysis: most important buildings and monuments
dominate in the representation
 Implicit references to K. und K.
• Textual analysis: Focus on 19th century urban planning,
important cultural institutions and the so-called Green Horseshoe:

• Spacious squares and monuments in the neo-styles of the 19th

century are seen among the many parks and green spaces

• This series of open green spaces, not unlike the Ring in Vienna, is
formed in the shape of the letter ‘u’ and contains important
institutions of public culture.

• Occupying the west side of the square is the Museum of Arts and
Crafts, founded in 1880 and one of the first institutions of its kind
in Europe. It was originally charged with the cultivation of
traditional crafts and their use in modern design and manufacture.
As a result, the School of Decorative Arts (the present day School of
Applied Arts and Design) was established next to the museum.
• The colourful Church of St. Mark is one of the oldest buildings in Zagreb
and of its symbols. It is first mentioned in the list of parish churches in the
Kaptol Statute of 1334. The church was thoroughly reconstructed in the
second half of the 19th century, based on the designs of Viennese
architects Friedrich Schmidt and Hermann Bolle.

• The Zagreb Cathedral is the most monumental and the most impressive
Gothic-style sacral building southeast of the Alps....In an attempt to restore
the cathedral's original appearance, Viennese professor of Architecture
Friedrich Schmidt was invited to Zagreb. He took his student Hermann
Bolle with him. However, the cathedral was severely damaged by the
disastrous earthquake of 1880. For this reason, not only it was
reconstructed according to the design of H. Bolle, but its interior also
acquired neo-gothic characteristics... Therefore the today's look of the
Cathedral was finalized in 1902 year.
• Maksimir is one of the earliest European parks developed
according to the original 18th century design.... When it was
opened, it was the first public promenade in the region of
south-east Europe as a whole... Maksimir Park is to Zagreb as
the Bois de Boulogne to Paris, Tiergarten to Berlin or Regents
Park to London.
• Built in the late 19th century by Hermann Bollé, (Mirogoj) is a
wonderful example of a grand civic graveyard, featuring
monumental arcades, domed gatehouses and pavilion
chapels.
Built in 1913, the Croatian State Archives
building is one of the most beautiful
secessionist buildings in Croatia. This most
important palace of the Croatian secessionist
period is a successful combination of early
Viennese secessionism and modern European
architecture marked from the beginning of the
20th century.

The Croatian Academy of Arts and Sciences

the highest institution devoted to science and
art in Croatia, is housed in a Neo-Renaissance
palace that was built exactly for this purpose in
1880. It is only palace (in the real sense of the
word) in Zagreb (sic). Friedrich Schmidt, 1877 -
1980, built in the forms of Italian Renaissance,
adepted (sic) to new technical conditions and
functional space requirements.
The railway arrived in Zagreb in 1862, connecting the 40,000-strong city to the
economic and cultural centres of Vienna and Budapest. Built in 1892, the
station building was designed by Hungarian architect Ferenc Pfaff, something
of a specialist when it came to railway stations. Incorporating a mixture of
Renaissance and Neo-classical elements...

Marking the northern end of King Tomislav Square is the Art Pavilion,
originally built to serve as the Croatian Pavilion at the Budapest Millennial
Exhibition of 1896. Constructed using the latest in metal frame techniques,
the pavilion was disassembled at the end of the Budapest exhibition,
transported to Zagreb by train, and re-erected at its current location. The
ceremonial opening took place in 1898 accompanied by a grand exhibition of
contemporary artists.
 Intangible legacy
• Implicit in city lifestyle and atmosphere:
• In the heart of Zrinjevac there stands the Music Pavilion which has served as an
open-air concert stage since the 19th century. History is brought to life as summer
concerts continue to take place here, even up to the present day.

• Consumption culture:
• As you set out to take a tour round Zagreb, determined to see its highlights, you’ll
find that you’ll end up rather enjoying it. Sitting at one of its Viennese style cafés,
strolling leisurely around its streets and promenading through its parks, it’s like
you’re starting out on a love affair with this city and its people.

• The coffee house culture reached its peak in the 19th century, with grand cafés
inspired by Viennese models, which acted as the hubs of social life. The Austrian
style of long coffees with milk and Italian finesse ousted the impact of Turkish
coffee.

• During the Habsburg Monarchy, Zagreb accepted the new trends coming from
Bavarian and Czech lands and the first small-scale brewery was opened in the mid
18th century.
 Culinary legacy
• The long period spent in the huge Austro-Hungarian Monarchy had
the greatest impact on the local tradition and the contents of a
typical Zagreb family meal.

• The cuisine of middle-class Zagreb is perfectly outlined in the

preserved cookbooks from the 19th century, when the self-aware
bourgeois lived well and looked up to their greatest role model -
Vienna.

• Of course, many desserts came to Zagreb’s kitchens from Austrian

and German sources, like carski drobljenac (Kaiserschmarrn) or
kitnkez, sweet quince cheese. And when Zagreb’s ladies of the house
wanted to show they can compete with the lush Austrian cakes,
sparked by local pride they invented Jelačić šnite, a rich and creamy
cake with walnuts and chocolate.

• The influence of the neighbouring Hungary left us variations on the

theme of goulash and paprikash, although milder than the original.
 Use of Agramer dialect
Specific strongly Germanized variety of Croatian
kajkavian dialect still widespread in cuisine:
• ajngemahtec - version of the chicken soup
noklice (fresh-egg dumplings)
• špek-fileki (tripe with bacon)
• gablec (working class mid-morning meal)
• ćušpajz (vegetable stew)
• faširanci (minced meat patties)
 Legacy of cultural diversity
• Over the centuries, the city was inhabited by people coming from all over
Europe; and, in recent years, by people coming from different parts of
Croatia, ensuring a rich cultural life.
• (The Zagreb Cathedral) Its ground plan, ..., resembles French architectural
pattern (ex. the one in Troyes); the details of its subsequently added naves (of
equal height) correspond to the building patterns of modern German
architecture; imaginative sculptures, on the other hand, reflect influence of
Czech schools.
• Mirogoj (cemetery) accommodates people of all religions, which is why
Catholic, Orthodox and Muslim (sic) symbols can be seen on many of the
gravestones.
• In Zagreb’s cuisine many influences are blended: Austrian, Hungarian, Czech,
Mediterranean (mostly Italian), French, Balkan and Turkish.
• The trend of Vienna pastry shops and cafés was successfully transplanted to
Zagreb, while the Oriental influence is also present in the repertoire of
desserts. In Zagreb you can witness a harmonious co-existence of Sacher
cake, baklava and the local kremšnita (custard cream cake). (sic)
 National framing of the legacy
The focus of the textual representation of squares and buildings is on
national Croatian personalities and artists and not on their history:

• ....Strossmayer Square is much more than just a peaceful space of superficial

beauty. In the park, you are surrounded by the busts of eminent Croatian
personalities, with pride of place going to Bishop Strossmayer’s monument,
created by the equally famous Croatian sculptor, Ivan Meštrović.

• For the many guests of Zagreb, the railway station building is their first encounter
with the city, and the monument to King Tomislav, the first medieval Croatian
king, is something they will recognise from the tourist guides as one of the
symbols of the city.

• There are few towns where streets and greenery live as closely intertwined as
they do in Zagreb. Zrinjevac, named after the Croatian viceroy, Nikola Šubić
Zrinski, is the first in the string of eight green spaces, perhaps even the most
beautiful. It is one of the most enjoyable lessons about the history of Zagreb you
can take because of the art galleries that line it and the busts of the great figures
from the history of Croatia that adorn its pathways.
 Invention of tradition

• Changing of the Guard of Honour of the Cravat

Regiment - Ceremony installed after 1991
• Based on claims about brave Croatian soldiers who
joined the French Army in 17th century where they
formed the Croatian regiment “the Royal Cravates”
• A scarf they wore around the neck is supposedly the
origin of the tie.
• Tie is promoted as original Croatian symbol and
souvenir.
 Negative analysis
• No evidence of complex, tense relations with both Austria and
Hungary
• Total silence about the life of Ban Jelačić and his controversial
role in nation-building
• Only a few names of selected architects and artists of foreign
origin are given (Bollé, Schmidt, Pfaff, Fellner and Helmer,
Fernkorn), while all others including naturalized foreigners are
not mentioned
• No mention of the important Jewish contribution to the city
development
• Emphasis on religious heritage connected with the medieval
Croatian state and the catholic identity
 Negative analysis
• Tangible heritage:

– No traces of industrial heritage which played a crucial role

in the development of the city (though most factories of
that time are still visible). A few, like Franck coffee factory
still produce the same products or are used for other
purposes.
• exception:
• the first mechanical pencil and the fountain pen, designed in
Zagreb by its inventor, Eduard Slavoljub Penkala, whose Slovakian
origin albeit is not mentioned

– No traces of military heritage though k.und k. army was

very important in urban life. Several large military quarters
are still present, mostly converted for other purposes
 Negative analysis
• Intangible heritage
– Scarce
– Presented as part of lifestyle and consumption
– Invented tradition of the the Cravat Regiment
Ceremony in spite of the fact that Croatians, while
subjects of the Monarchy, fought as mercenaries
in the French army
 Conclusion
• Urban identity of Zagreb is primarily
represented in terms of national capital and
national symbols, with very few features of
local significance.
• Zagreb is both Central European and
Mediterranean (sic) city to be representative
of the whole country.
• The origin of the Austro-Hungarian heritage is
rarely openly cited and mostly as a sign of
belonging to Central Europe.
 Conclusion
Our findings on the representation of K. und. K.
cultural heritage on Zagreb tourist board website:
– fit into the concept of authorized heritage discourse:
• “a dominant Western discourse about heritage… that works
to naturalize a range of assumptions about the nature and
meaning of heritage” (Smith 2006:4)
• it is framed by Western European upper-middle class
ideology “as much a discourse of nationalism and patriotism
as it is of certain class experiences and social and aesthetic
value” (Smith 2006:28)
• It is „concerned with the negotiation and regulation of
social meanings and practices associated with the creation
and recreation of ‘identity” (Smith 2006:5)
 Conclusion
• Urban identity of Zagreb is primarily represented in
terms of national symbols important for the Croatian
nation as a whole
• Discourse of Zagreb heritage legitimizes some cultural
meanings as a part of the national narrative, and
rejects the others that do not fit:
– Through selection of heritage it includes only positive,
monumental and aesthetically pleasing sites, buildings and
artefacts
– It excludes any political and conflictual historical relations
with both Austria and Hungary.
– No differentiation of heritage in terms of ethnicity, religion
or class (e.g. invisibility of Jewish presence and
contributions, lack of industrial and military heritage).
 Conclusion
• Discursive constructs of Zagreb identity “primarily
emphasise national uniqueness and intra-national
uniformity but largely ignore intra-national differences
(Zagreb as both continental and Mediterranean city).
• This imagining of national singularity and homogeneity is
to the detriment of the rich multicultural past of Zagreb
which remains invisible.
• As cultural diversity represents both in diachronic and
synchronic perspectives, a valuable resource in tourism,
it remains to be eventually discovered by the Zagreb
Tourist Board.
 Implicit conflictual relations
• A stroll down Strossmayer Promenade is important, not only for the view
and perspective it provides, but also to allow you find out about one of the
most important figures in Croatian history. Bishop of Djakovo, Slavonia,
political party leader and founder of the Academy of Arts and Sciences,
Strossmayer had a huge influence on events while Croatia was still a part
of the Austro-Hungarian empire. He used income from his episcopal
estates to fund other important projects.
• The (Zrinjevac) square gets its name from Nikola Šubić Zrinski (1508 –
1566), the Croatian Ban who died during the heroic defence of Szigetvar, a
Hungarian fortress besieged by the Ottoman Turks.
• (King Tomislav) This courageous warrior defended the continental part of
Croatia from Hungarian attacks and for the first time united all Croatian
lands into one country. Tomislav successfully sought papal recognition of
his realm, and was crowned as king in the year 925.
• The Croatian Sabor or Parliament has held its sessions at this location ever
since 1737. The current building dates from the beginning of the 20th
century. It was here that members voted to sever political ties from the
Austro-Hungarian Empire in 1918 and from Yugoslavia in 1991.