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4: CASE STUDY 1: THE ITALIAN/SLOVENIAN BORDER signs were installed to inform anyone approaching of the distance to or the exact location of the borderline and were more common in some areas than in others. Especially in areas where people came closer to the border, for example where the border ran near towns or villages, there was an increased need to inform people. From studying photographs from the area at the Goriški Musej Archives it becomes clear that the signs also changed throughout time. During the early period between 1947–1954 when Anglo-American forces were present as peace keepers in the area many of the signs within Zone A were written in English as well as the standard Slovenian and Italian. Later as the Anglo-American forces were removed from the area there was no need for English signs. Although the signs were much more frequent in the past several of them still remain. On the Carso/Karst area near Trieste a sign with information in both Italian and Slovenian and with an empty space where a third, English, sign had been removed is still in situ (Figure 37). On the Italian side there were also many signs scattered across the border landscape forbidding photography, filming, drawing or the use of binoculars within the border areas. These signs were written in Italian and had a map to demonstrate the area that was off limits for photographing, filming, drawing or using binoculars (Figure 38). At border crossings there were signs informing on the presence of police and customs and how to approach these. At the border museum located in Nova Gorica railway station several signs that used to be located on the Yugoslavian and subsequently the Slovenian side are displayed. The signs on the Yugoslavian side were mostly written in Slovenian, apart from signs by border crossings. The most common signs along the border were those warning about the border or indicating the limit of a military area, such as those located by Nova Gorica Railway station. After Slovenian independence the Slovenian coat of arms at the top of the sign was placed on top of the Yugoslavian. The main difference between the signs available today and those in the past is that today there is no need to discourage people from crossing the border. Instead signs are used to inform those crossing of the rules and laws within the territory they are about to enter, such as speed regulations and toll requirements for the motorways. To the contrary many, unofficial signs, from casinos and shops are now encouraging people to cross. Away from the border crossings there are very few signs today informing on the border’s presence. 97
AN ARCHAEOLOGY OF THE IRON CURTAIN Figure 37: Sign in the Carso/Karst area near Trieste. The former English sign in the middle has been removed. Photo: Anna McWilliams 2008. Figure 38: Italian sign warning against photography, filming, drawing or the use of binoculars. Property of Musei provinciali di Gorizia, Italy. Crossing over The border crossings were the most commonplace where people came in contact with the border. No matter if the crossing was an indefinite one or if it was only crossing for a few hours, any legal crossing had to go through these points. The layout of the border crossings entitled the guards to investigate documentation and search cars before letting people pass or making them turn back. Apart from checking papers and passports the border guards also checked the vehicles to make sure they corresponded with the paperwork presented through inspecting and registering the chassis number of the cars (Figure 39). 98
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An Archaeology of the Iron Curtain
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An Archaeology of the Iron Curtain
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Contents Acknowledgements 11 CHAPTE
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The end of a journey 212 Sammanfatt
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AN ARCHAEOLOGY OF THE IRON CURTAIN
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CHAPTER 1 Introduction Standing on
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1: INTRODUCTION carried out of the
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1: INTRODUCTION they may be… It i
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1: INTRODUCTION where the observer
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1: INTRODUCTION former Iron Curtain
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1: INTRODUCTION criticism from othe
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1: INTRODUCTION itioned somewhere i
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1: INTRODUCTION World War II dividi
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CHAPTER 2 A physical metaphor Concr
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2: A PHYSICAL METAPHOR established
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2: A PHYSICAL METAPHOR The changing
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2: A PHYSICAL METAPHOR the events t
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2: A PHYSICAL METAPHOR As time has
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2: A PHYSICAL METAPHOR highly influ
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2: A PHYSICAL METAPHOR popular idea
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5: CASE STUDY 2: THE CZECH/AUSTRIAN
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Figure 77-78: Painting inside the f
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CHAPTER 6 An archaeology of the Iro
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6: AN ARCHAEOLOGY OF THE IRON CURTA
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Figure 102: Fence and Watch Tower a
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Sammanfattning (Summary in Swedish)
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SAMMANFATTNING En fysisk metafor I
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SAMMANFATTNING komst och kunskapsf
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SAMMANFATTNING Fältstudier av läm
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SAMMANFATTNING som försöker ta si
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SAMMANFATTNING mets dilemma”. Han
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Södertörn Doctoral Dissertations
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33. Sofie Bedford, Islamic activism
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67. Anne Kaun, Civic Experiences an
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Stockholm Studies in Archaeology Se
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29. LINDGREN, Christina. 2004. Män
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The Iron Curtain was seen as the di
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