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Translation of culture-specific items in texts dealing with the British education system
No full textThis thesis consists of a discussion on the translation of culture-specific items, accompanied by five annotated translations. The included translations are excerpts from four books and several summaries of reviews in the sphere of healthcare. Of those excerpts, three were translated from English into Croatian and two from Croatian into English. Excerpts from books Cultures and Organizations: Software of the Mind. Intercultural Cooperation and Its Importance for Survival by G. Hofstede, G.J. Hofstede and M. Minkov and A University Education by D. Willetts were translated from English into Croatian, as well as Plain Language Summaries of Cochrane Reviews. Excerpts from the book on the Starčevo culture at the Tomašanci-Palača site ordered by the Archaeological Museum in Zagreb, as well as the excerpt from a short story included in the book Društvene Igre by Andrija Škare, were translated from Croatian into English. The discussion centers around the culture-specific items (CSIs) related to the British education system based on the translated excerpt from the book A University Education by D. Willetts. It consists of the theoretical part, which defines culture-specific items, explores various criteria that need to be taken into account in the process of translation of such elements and proposes a classification of procedures for their translation. The practical part of the discussion is an analysis of specific examples from the text, which shows the complexity of the translation process and examines different approaches and methods for the translation of CSIs.Diplomski rad se sastoji od rasprave na temu kulturno-specifičnih elemenata i pet prijevoda s komentarima. Prijevodi uključeni u rad ulomci su iz četiriju knjiga i nekoliko sažetaka sustavnih pregleda iz područja zdravstva. Tri ulomka predstavljaju prijevode s engleskog jezika na hrvatski, a dva s hrvatskog na engleski. Ulomci iz knjiga Cultures and Organizations: Software of the Mind. Intercultural Cooperation and Its Importance for Survival autora G. Hofstedea, G.J. Hofstedea i M. Minkova te A University Education autora D. Willettsa prevedeni su s engleskog jezika na hrvatski, kao i prijevodi laičkih sažetaka Cochrane sustavnih pregleda. S engleskog jezika na hrvatski prevedeni su ulomci iz knjige o Starčevačkoj kulturi na lokalitetu Tomašanci-Palača, čiji je naručitelj Arheološki muzej u Zagrebu, te ulomci iz jedne od kratkih priča iz knjige
Društvene igre autora Andrije Škare. Rasprava je posvećena analizi kulturno-specifičnih elemenata povezanih s britanskim obrazovnim sustavom, a temelji se na prevedenim ulomcima iz knjige A University Education autora D. Willettsa. Rasprava se sastoji od teoretskog dijela, u kojem se definiraju kulturno-specifični elementi, istražuju razni kriteriji koje treba razmotriti prilikom prevođenja takvih elemenata i predlaže klasifikacija prijevodnih postupaka. Praktični dio donosi analizu konkretnih primjera iz teksta kojom se pokazuje složenost procesa prevođenja i istražuju razni pristupi i metode za prevođenje kulturno-specifičnih elemenata
The right to education of refugee children integrated into an elementary school in Zagreb
Full text linkTema rada je pravo na obrazovanje djece izbjeglica koji su integrirani u jednu zagrebačku osnovnu školu. S obzirom na to da dosadašnja istraživanja nedostatno zahvaćaju temu prava na obrazovanje djece izbjeglica, posebno na području Republike Hrvatske, temeljni je cilj istraživanja analiza ostvarivanja prava na obrazovanje djece izbjeglica u odgojno-obrazovnoj praksi, ali i uvid u barijere i izazove s kojima se susreću različite perspektive uključene u proces integracije. U analizi ostvarivanja prava na obrazovanje djece izbjeglica korišten je teorijski okvir prava na obrazovanje Katarine Tomaševski (2001) fokusirajući se na dimenzije dostupnosti, prihvatljivosti i prilagodljivosti obrazovanja. Korištena je kvalitativna metodologija te su podaci prikupljeni intervjuiranjem 13 sudionica. U uzorak je uključena stručna suradnica škole, učiteljice i asistentice u nastavi. Rezultati su pokazali da djeca izbjeglice djelomično ostvaruju pravo na obrazovanje u dimenziji dostupnosti, prihvatljivosti i prilagodljivosti. Rezultati ukazuju na to da je škola imala kratak period za pripremu učitelja učenika i roditelja, na odgođeni upis u školu i nepostojanje stardardiziranih testova za utvrđivanje znanja i sposobnosti za upis u školu. Rezultati su ukazali i na problem neposjedovanja osobnih dokumenata i dokumenata o prethodnim obrazovnim iskustvima što je otežalo smještaj učenika u odgovarajući razred. Utvrđeno je ne postojanje prijevoza učenika od Prihvatilišta za tražitelje azila do škole, kao i materijala za provođenje pripremne nastave hrvatskog jezika. U nekim područjima je zakazala i suradnja s pojedinim nadležnim institucijama te su izostala potrebna stručnih usavršavanja učitelja. Određeni broj učenika ima potrebu za prilagodbom sadržaja, individualiziranim pristupom i individualnim radom čije je osiguravanje izazovno učiteljima. Jezična barijera otežava komunikaciju posebno u početku integracije. U manjoj mjeri se integriraju sadržaji koji reflektiraju pozadine i iskustva učenika. Rezultati su pokazali kako je učenicima potrebna pomoć i podrška u različitim područjima, ali postoje brojni faktori koji otežavaju pružanje istih. Učiteljice i asistentice iskazuju različite stavove o uzrocima slabijih obrazovnih postignuća te različita iskustva o participaciji učenika i odnosu među učenicima domaćinima i učenicima izbjeglicama. Asistentice smatraju da učenici izbjeglice nisu aktivni sudionici nastave i da nemaju razvijene pozitivne odnose s drugom djecom u razredu, dok učiteljice smatraju suprotno. Većina sudionica ne navodi osjećaj potpune kompetentnosti za rad s djecom izbjeglicama te navode brojne izazove s kojima se susreću i različite vrste potrebne podrške u radu.The topic of this thesis is the right to education for refugee children who have integrated into elementary school in Zagreb, Croatia. Due to an insufficient amount of research regarding refugee children’s right to education, specifically in the Republic of Croatia, the goal of this study is to analyze the right to the education of refugee children, as well as define the challenges faced by participants in the process of integration. The analysis of the implementation of the right to education of refugees is based on the theoretical framework of Katarina Tomaševski (2001) focusing on three dimensions of this right, which are: accessibility, acceptability and adaptability of education. The research used a qualitative methodology for which the data were collected through interviews with 13 participants. Member of the school counselling service, teachers and teacher’s assistants participated in the study. Results showed the lack of implementation of the
right to education for refugees in educational practice. The results show that the school had a short period of time for preparing teachers, students and parents. The results also show the delayed enrollment in school and lack of standardized tests to determine knowledge and ability for school enrollment. The results point out the problem of the students not having personal documents and documents confirming prior educational experiences, which made it difficult to integrate them in the appropriate classes. Results show the lack of transport for students from the Reception Center for Asylum seekers to the school, lack of materials for learning Croatian language as a secondary language, lack of co-operation with some institutions and lack of necessary professional training for teachers. A certain number of students have the need for adapted educational content, individualized instruction, and individual work that is challenging for teachers to provide. The language barrier also makes communication difficult; this is especially so at the beginning of the children’s integration. To a lesser extent, participants integrate the educational contents that reflect the students' backgrounds and experiences. The results show that the students need help and support in different areas, but there are many factors that make it difficult to provide it to them. Teachers and assistants point out different attitudes about the causes of lower educational achievements as well as the different experiences of student participation and the relations with other students. Most participants felt a limited capacity for working with refugee children and would state that they had faced many challenges and required various types of support
Engleski kontraktualizam 17. stoljeća : materijalistička analiza C.B. Macphersona i E. Meiksins Wood
No full textU ovom diplomskom radu bavit ću se prvenstveno analizom političke teorije Thomasa Hobbesa i Johna Lockea, koji su svojim radovima uvelike utjecali na oblikovanje moderne političke misli. Obojica filozofa, svaki sa svog stajališta, postavili su temelje kontraktualističke teorije, a njihova socijalna i politička filozofija ostavila je mnogo prostora za razvoj različitih vrsta analize, komentara i studija. Neke od tih studija, koje ću detaljnije prikazati u drugom dijelu rada, bit će i one C. B. Macphersona i E. Meiksins Wood. Njihove materijalističke analize socio-ekonomskih uvjeta Engleske 17. stoljeća, u prvom redu pojava apitalizma, izuzetno su utjecale na razvoj političke misli. Macpherson će pronaći u političkoj teoriji i Hobbesa i Lockea korijene ideje ''posjedničkog individualizma'' dok će se Meiksins Wood prvenstveno baviti analizom izvora ranog kapitalizma, njegovim odjekom još u agrarnom obliku te na koji način političke teorije kontraktualizma, i Hobbesova i Lockeova, utječu na koncept i poimanje kapitalističkog načina proizvodnje. Za potrebe ovog diplomskog rada
koristiti ću deskriptivnu, eksplanatornu, kritičku, sintetičku i komparativnu metodu kako bih obradila izabranu literaturu te na tom temelju opisala pojam kontraktualizma
u marksističkoj, tj. socijalno-materijalističkoj analizi
Mediaeval church architecture in eastern Slavonia, Baranja and Srijem county and it's transformations during the Ottoman reign
Full text linkPredmet istraživanja je srednjovjekovna sakralna arhitektura istočne Slavonije,
Baranje i Srijema te sakralna kršćanska arhitektura za vrijeme osmanske vlasti (1526.-kraj 17.
st.), koja kroz taj period zadržava tradicionalna srednjovjekovna obilježja te stoga ne može
biti sagledana u kontekstu novih stilskih stremljenja, prisutnih u arhitekturi renesanse i
baroka.
U analizi sačuvanih spomenika i onih otkrivenih u arheološkom sloju koristila sam
interdisciplinaran pristup, u svjetlu novih konzervatorskih, povijesno-umjetničkih, povijesnih
i arheoloških istraživanja, jer iznimno mala količina pisanih izvora, kao i devastacija izvornog
srednjovjekovnog sloja kasnijim preinakama, otežavaju valorizaciju spomenika samo na
temelju povijesno-umjetničkih znanstvenih metoda. Na temelju interdisciplinarnosti i
komparacije s arhitekturom susjednih zemalja (Mađarska, Slovenija, Slovačka, Poljska),
spomenička srednjovjekovna građa istočnohrvatske ravnice je sagledana u kontekstu
srednjoeuropskog kulturnog kruga. Istraživanja su pokazala da je umjetnost srednjeg vijeka na
ovim prostorima uvjetovana prvenstveno društvenim i demografskim prilikama i tradicijom
(značaj tradicije srednjovjekovne gradnje, uvoz gotovih umjetničko-arhitektonskih rješenja), a
tek u manjoj mjeri stilskim premisama. Spomenike sakralne arhitekture s ovih prostora treba
promatrati u kontekstu rubnih područja širenja utjecaja zapadne umjetnosti. Također, uočena
je perzistencija ustaljenih karakteristika srednjovjekovne sakralne arhitekture, koja se
tipološki i morfološki razvija pod utjecajima uvezenih rješenja dvorske i redovničke
umjetnosti.
Spoznaje konzervatorskih, povijesnih i arheoloških istraživanja upućuju na postojanje
graditeljskog sloja (obnova ili gradnja) u vremenu osmanske okupacije Slavonije (1526.-kraj
17. st.). Oslanjajući se na radove Anđele Horvat, Dubravke Botice i Diane VukičevićSamaržije, razloge trajanja medijevalnih graditeljskih elemenata nalazim u revitalizaciji
graditeljske djelatnosti u drugoj polovici 16.st i prvoj polovini 17. st., koju potiču pristaše
reformatorskog pokreta te franjevci Provincije Bosna Srebrena. Uočavanje i analiza tradicije
srednjovjekovnih formi nužna je za sagledavanje crkvenog graditeljstva za vrijeme osmanske
vlasti u istočnoj Hrvatskoj.
Konačno, izrađen je novi katalog spomenika srednjovjekovne sakralne arhitekture,
upotpunjen arhitektonskom dokumentacijom, kao i podacima o pripadajućim ulomcima
arhitektonske plastike te zidnim oslicima, a u svrhu ažuriranja podataka o srednjovjekovnoj sakralnoj spomeničkoj građi s ovih prostora – dopuna spoznaja ranijih istraživača te dopuna
kataloga novim primjerima arhitekture.The research subject of this disertation is the medieval church architecture of Eastern
Slavonia, Baranja and Srijem and church architecture during the Ottoman reign in Eastern
Croatia (1526.-end of 17.th century), which through that period continues the use of
traditional medieval forms and therefore can not be viewed according to the new stylistic
aspirations of the architecture of the Rennaissance and Baroque period.
In the process of analysis and evaluation of preserved monuments and monuments
discovered in archeological state I have used an interdisciplinary approach, seen in a light of
new historical, archeological, art-historical research, as an extremely small amount of historic
written evidence has been preserved and the monuments have undergone considerable
devastation through rebuilding what makes it hard to evaluate these monuments using purely
methods of art history. Based on this interdisciplinary approach and comparing monuments of
this region with medieval architecture in neighboring countries (Vojvodina, Hungary,
Slovenia, Slovakia, Poland) I was able to make a valorization of the whole medieval church
architecture od Eastern Croatia, placing it within the context of the Central European cultural
circle. My research have shown that medieval art in the region was conditioned by social
circumstances and tradition (the role of tradition of medieval architecture, the import of
foreign bulding solutions), rather then by elements of artistic style. So, I believe that this
segment of medieval art should be considered within the context of borderlands of western
medieval styles. Also, I have noticed the persistence of traditional characteristics of medieval
church architecture, which has undergone through a typological and morphological
develpoment under the influence of imported court art and monastic art.
Recent historical and archeological research point to building activity in the period of
Ottoman occupation of Eastern Croatia. Following the work of previous authors (A. Horvat,
D. Botica, Diana V.-Samaržija) I believe that continuation of medieval building elements can
be explained by the revitalization of church building in the second half of the 16th century
and first part of the 17th century, which was enforced by the spread of Protestant
Reformation, and also by the Franciscans of the Bosna Srebrena province. So recognition and
analysis of the transformations of gothic forms has proven vital for researh in medieval
church building in Eastern Croatia during Ottoman reign.
Finally, I have made a new catalogue listing all the monuments of medieval church
architecture, accompanied by architectural documentation, and by new insights into architectural decor and wall decoration – i.e. fresco and secco paintings. The purpose of this catalogue is to update our knowledge about medieval church architecture of this region
Validation of the L2 motivational self system
Full text linkProces globalizacije rezultirao je činjenicom da je jezik iznimno bitan kao komunikacijsko sredstvo. Usto, posebno se ističu okolnosti u kojima su učenici najviše izloženi engleskome jeziku u usporedbi s drugim svjetskim jezicima. Suvremena nastava usmjerena je na učenika i proces učenja, te se uloga individualnih faktora pomno proučava. Posebnu važnost ima motivacija kao ključni faktor u procesu OVIJ-a. Njezinu složenost i promjenjivost nije lako razumjeti i definirati, što je dovelo do brojnih teorija i modela. Jedan od najnovijih motivacijskih modela ponudio je Zoltan Dörnyei. Povezano s time, glavni je cilj ovoga istraživanja upravo provjeriti valjanost Dörnyeijeva konstrukta L2MSS na hrvatskim adolescentima različite dobi: prvih i trećih razreda srednje škole i prve godine fakulteta. Dodatni ciljevi su ispitati ima li razlika u izraženosti različitih dimenzija konstrukta L2MSS kod hrvatskih adolescenata, utvrditi postoje li razlike povezane s dobi u motivaciji za učenje engleskoga jezika tijekom adolescentske dobi i utvrditi povezanost različitih dimenzija L2MSS-a s kauzalnim atribucijama i uspjehom iz engleskoga jezika. Za potrebe istraživanja preveden je i prilagođen upitnik Taguchi i sur. (2009). Upitnik je testiran u preliminarnom istraživanju, pa je primijenjen u glavnome istraživanju. Potvrđena je valjanost i pouzdanost mjernoga instrumenta za primjenu u hrvatskome obrazovnom kontekstu. Istraživanje je potvrdilo da postoje očekivane latentne dimenzije upitnika u sklopu L2MSS-a u hrvatskome obrazovnom kontekstu, tj. potvrđena je trodimenzionalna struktura konstrukta. Najizraženija dimenzija konstrukta je Idealno inojezično ja. Dokazano je postojanje razlika s obzirom na dob u motivaciji adolescenata za učenje engleskoga jezika. Rezultati istraživanja pokazali su da najviši stupanj motivacije za učenje ima najstarija skupina – studenti. Međutim, pokazalo se da je skupina učenika trećih razreda srednje škole najmanje motivirana za engleski jezik, za razliku od svojih mlađih kolega iz prvih razreda i starijih kolega – studenata prve godine studija. Tu pojavu pada motivacije tijekom srednjoškolskog obrazovanja trebalo bi pomno ispitati u budućim istraživanjima. Utvrđena je pritom i statistički značajna povezanost između kauzalnih atribucija, uspjeha i pojedinih dimenzija konstrukta L2MSS. Ovim istraživanjem utvrđena je valjanost Dörnyeijeva konstrukta u hrvatskom kontekstu i sukladno tome mogu se razviti odgovarajući instrumenti za mjerenje motivacije hrvatskih učenika engleskoga jezika tijekom adolescentske dobi. To će produbiti opće razumijevanje motivacije za učenje inoga jezika. Steći će se uvid u strukturu i varijabilitet motivacije kod hrvatskih adolescenata. Nove spoznaje moći će se primijeniti u nastavi stranih jezika u hrvatskome obrazovnom sustavu i moći će poslužiti sudionicima obrazovnoga procesa, posebice nastavnicima, da dobiju bolju sliku o motivaciji hrvatskih učenika i studenata. Te spoznaje mogu se primijeniti u razrednome okruženju kako bi nastavnici mogli ne samo motivirati svoje učenike već i spriječiti pad ili gubitak motivacije.The process of globalization, stimulated by a plethora of technological, social and economic
factors as well as the development of information technologies (IT), has brought forward the
perception of the world as a whole. This perception has highlighted the importance of
communication and, consequently, of language as an important communication tool. The role
of the greatest economic power – the United States of America in the IT revolution
significantly contributed to English language becoming a lingua franca (Graddol, 2006;
Seidlhofer, 2007). Therefore, students are nowadays most exposed to English in comparison
with other world languages.
The language learning process is complex, time-consuming and demanding. Since the
1990s, numerous researchers of second language acquisition (SLA) have emphasised the need
for thorough research into a number of factors affecting this process (Dörnyei, 1990;
Mihaljević Djigunović, 1995, 1998; Ushioda, 1996; Gardner, 2002; Dörnyei, 2005, Gass and
Selinker, 2008). Success in SLA depends on many factors and it varies from individual to
individual. As Larsen-Freeman (1991) points out, the research is characterized by a union of
two focal areas: learning and the learner. Consequently, recent SLA theories focus on the
importance of individual factors.
Motivation is considered to be perhaps the most important individual factor which
significantly affects the language learning process. Dörnyei (2005) defines motivation as the
initial stimulus for learning language and the driving force to sustain the long and arduous
learning process. Its complexity and changeability is not easy to understand and define, which
has led to numerous theories and models. The L2 Motivational Self System (L2MSS)
introduced by Zoltan Dörnyei (2005) is based on the presumption that SLA is a vital part of
one’s self and thus represents an integral part of the individual’s identity. The new construct is
a significant reformation in research of motivation due to explicit utilisation of the
psychological theories of self and identity. It conceptualizes motivation from the self-concept
perspective (Markus and Nurius, 1986) and opens up a new direction in perceiving
motivation, especially because it also involves developing a complex and vivid picture of an
individual in the process of perceiving himself/herself as a motivated learner. The model
comprises three dimensions: Ideal L2 Self, Ought-to L2 Self and L2 Learning Experience. Not enough attention has been paid to a systematic research of motivation in specific
contexts or age groups. The L2MSS has been validated in research studies in Hungary, China,
Iran, Japan, Saudi Arabia and Spain on high school students, students and adult learners
(Csizér and Kormos, 2009; Magid, 2011; Taguchi, Magid and Papi, 2009; Ryan, 2009; Al
Shehri, 2009; Mackay, 2014). However, there has only been one study validating the L2MSS
in Croatia (Martinović, 2014).
In the thesis the motivation for learning English as a foreign language in adolescents –
secondary school students and university students of the first year of undergraduate study is
explored. In order to gain insight into the motivation for learning English, the main aim of the
thesis is to test the validity of Dörnyei's L2MSS in the Croatian educational context, with
particular reference to age differences and learning success. Since previous empirical research
has indicated the importance of the learners’ past experiences on their future motivation and
the causes the learners attribute their previous learning achievements to, the correlation of the
L2MSS with causal attributions is investigated.
Having in mind the set research aims, the research attempted to test the following
research hypotheses:
H1. There are three latent dimensions within the L2MSS (Ideal L2 Self, Ought-to L2
Self and L2 Learning Experience) in the Croatian educational context.
H2. There are differences among the L2MSS dimensions; the L2 Learning Experience
is the most prominent dimension.
H3. There are age differences in motivation for learning English during adolescence
(among L2MSS dimensions); the oldest group is the most motivated group for
learning English.
H4. There are correlations between L2MSS dimensions, causal attributions and
learning success; L2 Learning Experience positively correlates with learning
success and causal attributions.
For the purpose of this research the questionnaire compiled and verified by Taguchi et
al. (2009) was tested in a preliminary study and applied in the main research. The validity and
reliability of the instrument in the Croatian educational context was confirmed. The research results confirmed the three-dimensional structure of L2MSS in the
Croatian educational context. Ideal L2 Self was found to be the most prominent dimension.
Furthermore, the results confirmed that there are age differences in motivation for
learning English. The oldest group of participants (university students – first year of
undergraduate study) proved to be the most motivated group. The least motivated group were
the secondary students in the third grade, while the students in the first grade were more
motivated than their older peers. These results require further thorough research.
Out of 120 possible correlations 77 statistically significant correlations between causal
attributions, learning success and L2MSS dimensions have been found. The correlations are
mostly positive, with only 8 negative correlations (between anxiety and causal attributions,
and between success and ideal L2 self, family influence and anxiety).
The results of this research will enable the participants of the educational process,
especially teachers, to gain a better picture of the motivation of Croatian students and to apply
this knowledge in a classroom environment in order not only to motivate their students but
also to maintain it over time and to prevent demotivation
Djelo Ángela Ganiveta i Generacija 98
Full text linkEn la parte introductoria del presente trabajo, nos ocuparemos del periodo histórico en el que actuaba Ángel Ganivet, conocido como la Restauración. En aquel entonces los españoles esperaban del nuevo monarca, Alfonso XII, que acabara con la inestabilidad política española. El rey, según la Constitución de 1876, era el encargado de administrar el poder entre los partidos políticos. Sin embargo, desde que comenzó el nuevo sistema de elecciones y siendo adoptado el sistema parlamentario inglés, nunca en todo el siglo XIX perdió las elecciones el partido que
las convocaba. Así pues, nos propondremos definir las características peculiares de la política vigente de Cánovas del Castillo cuyo sistema de alternancia en el poder marcó la segunda mitad del siglo XIX y trajo consigo repercusiones inevitables que culminaron con el “Desastre”, como pasó a llamarse la fulminante derrota de las tropas españolas en 1898. Después del “Desastre”, el ánimo de los españoles cayó abruptamente desde el entusiasmo al pesimismo y la frustración. La grave crisis en la que se hallaba España a fines del siglo XIX se convertiría en la principal
preocupación de un puñado de intelectuales, que más adelante serían conocidos como la
Generación del 98.U uvodnom dijelu bavit cemo se povijesnim razdboljem u kojem je djelovao Ángel Ganivet, poznatije kao doba restauracije. Međutim, nakon tzv "Katastrofe", dotad pun entuzijazma, duh Španjolaca je postao pesimističan. O toj krizi koja se dogodila u Španjolskoj krajem 19.stoljeća puno će pisati intelektualci nadalje poznatiji kao Generacija 98
Emotional Intelligence, Linguistic Intelligence and Linguistic Performance
No full textThe aim of this paper is to investigate the relationship between emotional intelligence, linguistic intelligence and linguistic performance among proficient Croatian students of English. Other research goals are to determine which of these predicts linguistic performance better. Furthermore, elements of emotional intelligence based on research done by Saklofske, Austin, and Miniski (2003) and Salovey and Mayer (1989-1990) are put to the test with the purpose of determining which (if any) contribute significantly to linguistic performance. Finally, the research aims to investigate differences in tests between men and women, as well as students enrolled in four graduate programs (Literature and Culture, Linguistics, Teaching, Translation) . In order to achieve this, three questionnaires were used: Schutte Self Report Emotional Intelligence (SSREI) (Schutte, et al. 1998), a linguistic intelligence test which was a part of Nail’s multiple intelligence questionnaire (Douglas 2002), and a questionnaire designed to test linguistic performance. All data was statistically analyzed. The results show that there is a positive correlation between the three elements, and that linguistic performance is better predicted by emotional intelligence than it is by linguistic intelligence. Moreover, two elements based on the views of Saklofske, Austin, and Miniski (2003) and Salovey and Mayer (1989-1990) were found to impact the overall linguistic performance, Optimism/ mood regulation and ERS (Emotional Regulation of the Self). Women obtained better scores in most areas, except linguistic performance where men performed better. Regarding graduate programs, student majoring in Literature and Culture had higher scores than students majoring in Teaching while students majoring in Translation scored higher than any other group; however, all the differences between men and women as well as the study groups were found to be statistically insignificant
Implementation of the Directive on certain permitted uses of orphan works in Croatia: an example of a diligent search for the photographer Rudolf Firšt
Full text linkTema ovog diplomskog rada je implementacija Direktive o određenim dozvoljenim korištenjima djela siročadi u Hrvatskoj. U teorijskom dijelu radu opisuje se položaj knjižnica u odnosu na izazov projekata opsežne digitalizacije i problema koje ono donosi. Zatim se definiraju ključni pojmovi za razumijevanje rada iz važećeg Zakona o autorskim i srodnim pravima, a to su autor i autorsko djelo te predstavljaju najbitniji članci. U idućem poglavlju predstavljaju se djela siročad, donose procjene njihovog obujma te predstavlja razvoj zakonodavnog okvira. Zatim se obrađuje kontekst donošenja Direktive u Europskoj uniji te predstavljaju i analiziraju njeni najbitniji članci. U sljedećem poglavlju predstavlja se pažljiva potraga kao pravni instrument osmišljen Direktivom. U istraživačkom dijelu rada pruža se dokumentirani prikaz djela fotografa Rudolfa Firšta i prikazuje dokumentirana pažljiva potraga. Na samom kraju u raspravi se iznose nejasnoće Direktive koje se tiču fotografija i argumentira zašto Direktiva nije zaživjela i ispunila svoju svrhu.The theme of this master thesis is the implementation of the Directive on certain permitted uses of orphan works in Croatia. The theoretical part of the paper describes the position of the library in relation to the challenge of extensive digitalization projects and the problems that it brings. Then, key concepts for understanding the work are defined from the existing Law on copyright and related rights, and these are the author and the author's work and represent the most important articles. In the next chapter, orphan works are presented, estimates of their volume and the development of the legislative framework. Next, the context of the adoption of the Directive in the European Union is being discussed and presented and analyzed by its most important articles. The next chapter presents a diligent search as a legal instrument designed by the Directive. In the research part of the work provides the documented display works of photographer Rudolf Firšt and displays documented diligent search.. At the very end in the discussion are presented some ambiguity of the Directive concerning the photographs and argues why the Directive did not live and fulfilled its purpose
Satan Panonski's body of resistance – auto-destructive body art in Croatian performing arts and practices
Full text linkOvim istraživanjem po prvi se put daju pregled, analiza i klasifikacija stvaralaštva
multimedijalnog punk umjetnika Ivice Čuljka / Satana Panonskog. Žanrovsku raznolikost ovog opusa
prate rubni i kontroverzan umjetnički status te izniman utjecaj životnih okolnosti na kreaciju
umjetničkih radova, stoga se glavnoj temi pristupa interdisciplinarno i dvojako: u prvom se dijelu
disertacije cjelokupno stvaralaštvo razvrstava na književno stvaralaštvo, izvedbene vrste
autodestruktivni body art, glazbeni performans i antimodni performans, te ostale vrste i žanrove
(likovne radove i mail art, audio-dokudramu), a interpretacija se usmjerava na pronalaženje obilježja
poetike otpora temeljene na estetici šoka te karakteristične umjetničke postupke kojima je moguće
dokazati Čuljkov osviješten pristup stvaralaštvu. U drugom dijelu istraživački pristup polazi od
definiranja stvaralaštva Ivice Čuljka kao umjetnosti osobne traume i komunikacije vlastite istine, te
sagledavanja njegove umjetničke pozicije kroz poziciju društveno stigmatizirane osobe. Nakon
uspostave terminologije primijenjenog performansa, Čuljkovo se umjetničko djelovanje analizira kroz
pripadnost u pet društveno marginaliziranih skupina: duševno neprilagođeni umjetnici, osuđenički
status, queer status, pripadnost supkulturnom pokretu i stigma ratnika. Završna istraživanja bave se
pitanjem mitologizacije ovog umjetnika, Satanom Panonskim kao inspiracijom drugim umjetnicima, te
se daje povijesni pregled izvedbi autodestruktivnog body arta u hrvatskoj umjetnosti performansa.This research gives, for the first time, an overview, analysis and classification of the genre–
diverse work of the multimedia punk artist Ivica Čuljak / Satan Panonski. The emphasis is placed on his
performance of self-destructive body art as the most recognizable part of artistic creation, and on the
interpretation of literary works that have proved to be the thematic and theoretical basis of the work of
Ivica Čuljak. Genre diversity is followed by an another and equally important feature of the
inseparability of life events and the marginal social status from the poetics of artistic works. Therefore,
the creative work of Ivica Čuljak cannot be observed without gaining insight into his private life marked
by mental illness and hospitalization in a neuropsychiatric facility, by his status of a convict and a queer
person or by belonging to the punk subculture. Therefore, the main topic here is approached in two
ways: next to analysing and interpreting his artistic and creative work on genre and aesthetic levels,
based on traditional methods and criteria, the issue of life events influencing artistic expression is
approached by using contemporary research practices in performing arts. One of these starting points is
the idea of performativity as a form of creating subject and its identity. In the case of Ivica Čuljak's art,
based on personal testimonies and versatile identities, it has proved to be necessary in order to separate
this analysis from the inability to determine the factual state of some of the life events that have become
themes of his creative work. The field of this research has been expanded to the theoretical interest in
performative practices as well, arising from the need for social engagement, opening up to marginalized
groups, whose aesthetic criteria have not been indicated as the primary artistic goal. In this part, the
theoretical background consists of the theory of applied theatre and accompanying cultural theory
disciplines and theories focused on studying different identities (e. g. crip and queer theories).
The main goal of this dissertation is to describe and theoretically elucidate the creative opus of
Ivica Čuljak by using research approaches whose interdisciplinary character enables the
comprehensiveness of this, in many ways specific, artistic personality. In this regard, one of the aims of
this thesis is to show how to analyse marginal artistic phenomena by using multidisciplinary and interdisciplinary approaches. The research further seeks to confirm Čuljak’s status of the originator of
self-destructive body art within the Croatian art of performance, from which point on it is possible to
follow the development of this performative genre in Croatia. With the desire to create usable
terminology for performances with activist features, another aim of this thesis is to offer a corpus of
concepts that are part of the scope of the term applied performance. The paper also provides a draft of
the first chronological overview of the creation of art works in the field of self-destructive body art in
Croatia, perceived in the global context of this practice.
Based on the assumptions of the dual approach, the thesis is divided into two main sections that
contain multiple topics subdivided into chapters. In the first part, the entire creative work is sorted into
literature (poetry and prose), types of performing art (self-destructive body art, music and music
performance, anti-fashion performance), and other types and genres (artwork and mail art, audiodocudrama). The interpretation focuses on finding the features of the poetic of resistance, based on the
aesthetic of shock, and on artistic characteristics that can prove Čuljak's conscious approach to creative
work. In the second part, the research approach begins by defining the creative work of Ivica Čuljak as
an art of personal trauma and communication of one’s own truth. It places the artist in the position of a
socially stigmatized person, examining his artistic activity through belonging to five socially
marginalized groups: mentally ill artists and creative work inside a health institution, status of a convict,
belonging to a subcultural movement, the queer status, and creation during war. Final studies deal with
several themes: the mythologisation of the artist, which proves to be an extremely influential factor in
the interpretation and perception of his life and work, Ivica Čuljak as an inspiration to other artists, and
a review of self-destructive body art performances in Croatian performance art based on the previously
established definition of self-destructive body art.
The presentation of literary work is divided into the analysis of poetry and prose writings. Along
with the interpretation, which includes detection and exemplification of main themes and motifs, and
stylistic and poetic features, based on the language of resistance and the aesthetic of shock, Čuljak’s
poetry is also approached through the distinction of poetry in the narrow sense and the rock/punk poetry.
Ivica Čuljak’s poetry is called performative poetry and is here interpreted as the starting point towards
the performing part of his creative work. In addition, it clarifies the necessity of the narrative transfer
from poetry to performance. Particular attention is given to the performativity of versatile identities,
which functions as the author's way of coping with his own trauma, and the key element in the
interpretation is the phrase the body of resistance. There is also the question of the presence of a ‘Šokac’
mentality and a possible comparison with a ‘bećarac’, as well as war poetry, which is due to its
distinctiveness distinguished from the rest of the poetry corpus. In the analysis of prose works, a
classification has been established, diving the works into stories and prose poems, autobiographical
writings, manifestos, essays and programmatic texts, sententiae, letters and requests. The interpretation
of stories shows that this prose is characterized by a pronounced deconstruction of form and language,
as well as the associative and alogic writing, which draws Čuljak closer to Dadaist and Surrealist
practices. Other prose writings are approached to as sources for the visualization of formed artistic
poetics, where the establishment of permanent terms has been detected.
The introductory analysis of self-destructive body art has established conceptual definitions and
an interpretation of this type of performing as a more narrow segment of body art performance,
dominated by a premeditated self-destructive act of an artist over his own body, in a performance
marked by the moment of disintegration of the artist's body, aggression directed towards oneself with
the aim of destruction, as well as actions that lead the artist to immediate danger of injury. Along with
an overview of the history of self-destructive body art in a global context, this part of the thesis
examines the relationship between radical artistic practices of the West and the East, whose lesser or
greater recognisability and presentation have depended on the social context, that is,the ideology of the
visible. The body, as an instrument of artistic expression, is observed through conceptual definitions and
themes of the body of resistance, the performative body, the body itself, the ritual and the para-ritual
body, the dualism of spirit and body, the socio-cultural perception and the concepts of physicalness, the
performance of pain and the comparison of bodily performance with the tendencies and treatments of
the body in the postdramatic theatre. The portrayal of Satan Panonski's self-destructive body art begins
by defining his performances as centripetal lesionism, expressive body art, para-ritual, the performance of transgression and the performance of the identity of the Other, and by placing it in the global
historical context of body art. The analysis of performative practice distinguishes and describes its main
features: forms of types of performances, performance structure and dramaturgy, authenticity of the
statement, the para-ritual character and the controlled trans, artist’s control and playing with the
expectations of the audience, the performance of identities of the Other and the Otherness, theatricality
and deflection from the punk subculture as the area of realization of Čuljak's performances. The
presentation delivers a theatrological reconstruction of several performances by Satan Panonski based
on available video recordings, and it addresses the question of Ivica Čuljak's awareness of his own body
art.
In analysing the genre of musical performance, the introduction delineates the concepts of avant-garde
and alternative music, and it establishes the difference between a performative gesture within a musical
performance and a musical performance (performative act) as a whole performance or a complete
integral part within a performance. With a short overview of the Croatian alternative music scene of that
period, punk music has been observed by using Jacques Attali's idea of breaking the structured sound as
a reflection of an imposed culturalisation process, and a sign of a shift towards a strong bodily
expression that leads to a performative gesture or act. Ivica Čuljak is compared to musicians Iggy Pop
and GG Allin, whose concert performances contain elements of self-destruction as well.
The portrayal of the anti-fashion performance is based on the theoretical definition of the term
anti-fashion. Along with specifying the general characteristics of punk fashion, the tendencies of this
style are stated as well, and as follows: the removal of sex/gender characteristics, putting emphasis on
extreme sexuality through sadomasochistic iconography and the tendency of self-irony. The anti-fashion
performance of Satan Panonski is here understood as an expression of autonomy versus fashion
heteronomy and mental uniformisation of society. The dissertation analyses Čuljak’s individualisation
of the punk style through a creative upgrade by using materials and motifs from a local context. The
shift of punk clothes’ function into the one of a costume and the anti-fashion statement of Satan
Panonski are compared to a linguistic system as well, and are interpreted as a language that includes
taboo expressions and is the clothing equivalent to vulgar and banned words. At the end of the
presentation of this theme, Čuljak's anti-fashion expression is reconstructed based on available photos
and video recordings.
An overview of other aspects of Čuljak’s creative work includes a shorter presentation of his
artwork, which detects recognizable themes and motifs of the artist. With a brief review of the general
features of fanzines, this part states the data on Čuljak’s fanzine and mail art, which are understood as
means of author’s identification and identification with those like-minded, of articulation of one’s own
identity and as a method of developing and spreading one’s audience. Based on preserved audio
recordings, Čuljak’s creation of anti-radio show, labeled as self-ironic audio-docudrama, is presented
as well.
In the interpretative shift in the second part of the thesis, an analysis is approached to from the
theoretical position of applied theatre, engaged performance and performative testimony of trauma,
while Čuljak’s art is defined as the communication of one's own truth and the art of personal trauma.
The introductory part, along with conceptual definitions of personal trauma and alternative culture,
points to similarities shared with performative practices of applied theatre. After determining the basic
types of performance, the analysis turns to establishing terminology for applied performance by
transferring concepts from the theory of applied theatre. Terms are divided into categories (general and
umbrella terms, basic intention of performance, social/artistic status of performer, context of
performance creation and its collectiveness/individuality, radical characteristic of form and thematic
orientation of performance). The established terminology is then applied to the performances of Ivica
Čuljak/Satan Panonski.
Čuljak’s artistic position is determined and represented through five socially marginalized
positions, stigmas from which he has spoken artistically. The theme of the stigma of a patient portrays a
part of his life and creative work that took place in hospital conditions, based on available information,
and analyses a therapeutic effect of this art of pain. The identity of the mentally wounded is further
discussed using Erving Goffman’s concept of a total institution, and the relations and ways of Čuljak’s
drift towards the characteristics and forms of depersonalizing an individual, a process often occurring in such institutions. In the description of the murderer stigma and the status of a convict, the introduction
presents biographical data based on available court documents and other archival sources, and analyses
the convict stigma and the artistic identity resulting from it. Motives of the dramaturgy of crime,
punishment and justice, which are present in Čuljak's body art, as well as functions of performances
such as maintaining social links with the outside world or a brief formation of personal dignity, point to
a comparison of Čuljak’s performances to the type of applied performance called the prison theatre.
This section analyses a special aspect of Čuljak’s (non)artistic expressiveness on this subject as well –
requests for pardon, which deviate from the expected administrative style of writing, approaching a
hybrid genre at the intersection of a documentary and an artistic statement, in which Čuljak's language
of resistance is realized once again. In interpreting Čuljak’s position as the one of a forerunner of
contemporary spokespersons for queer persons and the voices from the margin, the creative work is
linked to queer concepts and the crip theory. Performative identity creation is examined through the idea
of the performativity and Judith Butler’s concept of subject undoing. The homosexual theme, which is
in Čuljak's works reinforced by motifs of diseases such as AIDS or syphilis as punishment for deviance,
is observed through Susan Sontag’s theoretical postulates on experiencing illness as an unnatural state,
social deviance or the state of the Other. This leads to the stigmatisation of patients, where Čuljak’s use
of the motif of illness is interpreted as a subversive act. The description of Čuljak’s controversial
position of a performer-warrior brings forward biographical information that indicates the
circumstances of his life and work after leaving the neuropsychiatric hospital and during the war period,
which are more difficult to shed light on. The beginning of warfare in Croatia is perceived through the
issue of the possibility of speaking about Croatian applied theatre/performances during the war, and
here the paper deals with the formation of anti-war art within institutions and the non-institutional antiwar art present in the alternative (subcultural) music scene and the performance art. Čuljak’s rare
performances during the war are marked by the absence of self-destruction, which is here considered as
possible proof of artist's reflection on his own performance and its impact on the audience. The
introduction to an overview of Čuljak’s belonging to the punk movement, observes the emergence of the
regional punk scene, and connects the local context with the concept of subculturalisation. As an
important feature of this subculture, the emphasis is put on the aspiration to create a different reality by
reinterpreting the spaces of performance, having a different understanding of the artistic status, forming
alternative social communities and affirming different gender and sex identities, which are in Čuljak’s
case realized through an informal organization Punk prisna porodica. Based on the available data, the
dissertation describes the ways this community functions, and states the basic elements of its
organization, which are as follows: naming the organization, writing programmatic texts, establishing
the philosophy of the community, taking over the role of the leader, setting up the we – they opposition
as a basis for members’ self-identification, along with creating an utopian vision of the future in the idea
of a punk commune.
The portrayal of the artist's mythologisation points to the realization of the artistic idea of
provocation using a versatile identity performative based on the production of disinformation, as well as
the inscenation and spectacularisation of one’s own life, which resulted in a distinct appearance of
numerous urban legends about Ivica Čuljak. This part of the thesis states the ways of their production
and distribution through the creation of artist's individual mythology, media exposure and posthumous
spread and upgrade of rumors in the mediosphere. Urban legends are thematically classified into
legends related to the autobiography mythologisation and the formation of the identity of the Other,
excessive behaviour, wartime and death. The theme of artist mythologisation is analysed through the
question of interaction between the oral tradition and the media as well.
The artistic appearance and life story of Ivica Čuljak have created a special aura of an authentic,
uncompromising artist, which persistently intrigues the public and has also proved inspirational to
authors in various fields of artistic expression. This chapter lists and briefly describes artistic and
documentary works created by using the motifs or the theme of life and creativity of Ivica Čuljak / Satan
Panonski, and more noteworthy commemorative projects. The end of this chapter gives an example of
Satan Panonski’s influence on the entire creative work of artist Sven Fabjan Gorjanec, and establishes a
division of Croatian artists of self-destructive body art into direct imitators and indirect continuators,
performance artists whose artistic work is marked by self-destruction acts. The final part provides an overview of key self-destructive body art performances by Croatian
artists from the beginning of the 1990s to 2018. These performances differ in the artists’ motives, the
performance sites that are no longer part of the margin, and the performances’ publicity/privacy. These
performances are defined as self-destructive gestures and as performances that are, in every sense of the
word, called self-destructive body art, based on the idea of self-harm that becomes an essential feature
of the artist's work overall. The overview presents works by the following authors and art groups: Josip
Pino Ivančić, Zlatko Kopljar, Le Cheval, Robert Franciszty, VlatkoVincek, SlavenTolj, Siniša Labrović,
Igor Grubić, Krešo Kovačiček, Boris Kadin, Gildo Bavčević, Marko Marković and Marijan Crtalić
Presentation and Analysis of FRBR Group 1 Entities in RDA
No full textBibliografski entiteti, atributi koji opisuju te entitete i odnosi kojima se pojedini entiteti mogu povezati temelj su konceptualnog modela bibliografskog univerzuma izrađenog u sklopu IFLA-ine studije FRBR. Kataložni pravilnik RDA funkcionira kao implementacija tog IFLA-inog modela. Glavni fokus ovog rada bili su entiteti prve skupine FRBR-a – djelo, izraz, pojavni oblik i jedinica građe – odnosno usporedba definicija i uporabe tih entiteta, kao i njihovih atributa i odnosa, u modelu FRBR-a te u pravilniku RDA. Problematika bibliografskih entiteta prvo je prikazana u širem teorijskom kontekstu bibliografske organizacije, nakon čega su pobliže predstavljeni pojedini entiteti prve skupine FRBR-a te neki od značajnijih problema koji se vežu uz način na koji model pristupa tim entitetima. Konačno, u radu su navedene sličnosti i razlike između načina na koji FRBR i RDA opisuju i pristupaju entitetima prve skupine, njihovim atributima i odnosima te problemima koji se vežu uz te entitete.Bibliographic entities, the attributes used to describe those entities, and the relationships used to connect one entity to another form the basis of the conceptual model of the bibliographic universe developed as part of IFLA’s FRBR. The cataloguing standard known as RDA functions as an implementation of IFLA’s model. This paper primarily focused on FRBR’s Group 1 entities – work, expression, manifestation, and item – or, more precisely, on the comparison of the ways in which those entities, as well as their attributes and relationships, are defined and used in FRBR and RDA. The topic of bibliographic entities was first placed in a wider theoretical context of bibliographic organization, which was followed by a more detailed presentation of Group 1 entities and some of the more prominent issues relating to the model’s approach to those entities. Finally, the paper highlighted some of the similarities and differences between FRBR’s and RDA’s description of and general approach to Group 1 entities, their attributes, and relationships, as well as some of the issues relating to those entities