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Symbols and symbolism in the poetry of Dora Pfanova
No full textDora Pfanova napisala je dvije zbirke pjesama, Pjesme I i Pjesme II, kroz koje čitatelj susreće mnoštvo zgusnutih simbola koji kroz zbirke razvijaju svoje značenje i smisao. Razvoj te simbolike donosi analiza ovog diplomskog rada. Detaljno proučavanje dviju zbirki prikazano je u središnjem dijelu rada, gdje su odabrani simboli cvijeta, vode, grada, sna, duše i smrti te proučen njihov raspon simbolike. Sukladno svojoj simbolici, uočavamo kako se njihova simbolika i prostor lirskog nalaze u površinama pejzaža, sna, duše... Kroz svoj opus, Pfanova iznosi simbole ljubavi, tuge, samoće, smrti, duhovnosti, a višeznačnost tih simbola rasla je s promjenom formalnog plana njenih pjesama. Svoje pisanje započela je tradicionalnim formama vezanog stiha i soneta, da bi se pri kraju prve zbirke okušala u stvaranju pjesama slobodnog stiha i pjesama u prozi. Te se forme protežu i prevladavaju kroz drugu zbirku te ona preko njih ostvaruje svoj puni pjesnički potencijal, iskazujući svoju najskriveniju intimu i najdublja promišljanja. Interpretacija četiriju pjesama (Buket, Bašća, San, Ljeti čas iz kancelarije) zorno je prikazala spomenuti raspon i potvrdila teze koje se odnose na razvoj simbolike i izmjenu formalnih oblika pjesama.Dora Pfanova wrote two poetry collections, Pjesme I and Pjesme II. This thesis explores the rich and evolving symbolism in these two poetry collections. The analysis focuses on how key symbols, including flower, water, city, dream, soul and death, develop and deepen in meaning across the two collections. In accordance with their meanings, we notice how their symbolism and the space of the lyrical subject are found in the surfaces of the landscape, dream, soul... Throughout her work, Pfanova presents symbols of love, sadness, loneliness, death, spirituality. The ambiguity of these symbols grew with the shift in the formal plan of her poems, moving from traditional forms of rhymed verse and sonnets in her early work to the prevalence of free verse and prose poems in her second collection. This transition allowed Pfanova to fully realize her poetic potential, enabling her to express a deeper intimacy and more profound reflections. The interpretation of four chosen poems (Buket, Bašća, San, Ljeti čas iz kancelarije) provided concrete examples of this symbolic range and confirmed the thesis regarding the interplay between evolving symbolism and shifting poetic forms
L'ischemie myocardique : analyse terminologique et traduction d'un article scientifique
No full textOvaj diplomski rad se bavi terminološkom analizom i prijevodom znanstvenog članka o ishemiji miokarda. Podijeljen je na dva glavna dijela : teorijski i praktični dio. U teorijskom dijelu definirana je terminologija i njeni ključni pojmovi, opisan je razvoj kardiologije, obrađeni su članci koji govore o problematici medicinske terminologije, te su navedena referentna djela koja su nam pomogla u prijevodu i stvaranju konceptualnih prikaza. Praktični dio obuhvaća prijevod stručnog teksta, komentar na prijevod, 10 terminoloških kartica, te glosar s francuskim i hrvatskim terminima.Ce mémoire de master porte sur l'analyse terminologique et la traduction d'un article scientifique sur l'ischémie myocardique. Il est divisé en deux parties principales : une partie théorique et une partie pratique. Dans la partie théorique, nous définissons la terminologie et ses concepts clés, nous décrivons l’évolution de la cardiologie, nous examinons des articles qui traitent des problèmes de la terminologie médicale et nous citons les ouvrages de référence qui nous ont aidés dans la traduction et la création de représentations conceptuelles. La partie pratique comprend la traduction du texte spécialisé, un commentaire sur la traduction, 10 fiches terminologiques, et un glossaire avec des termes français et leurs équivalents croates
"Admiral of his phantasms": the intellectual history of Boris Maruna
No full textU ovom diplomskom radu analizirana je intelektualna ostavština Borisa Marune iz njegovog emigrantskog i domovinskog razdoblja nakon povratka u Republiku Hrvatsku, do njegove smrti 2007. godine. Mada je po vokaciji bio primarno pjesnik, Boris Maruna je svojom širokom intelektualnom, političkom i javnom djelatnošću obilježio drugu polovicu dvadesetog stoljeća hrvatske povijesti. Svojim primjerom zalagao se za individualizam te beskompromisnost i neovisnost intelektualaca. Isticao je iznimno važnu društvenu ulogu i odgovornost intelektualca, u vidu hrabre i neprestane kritike svih društvenih anomalija - pa i po cijenu vlastite nesreće, a koju je on pak zaobilazio poezijom i ironijom. Svojim djelovanjem, nastojao je pomiriti raskorak između pragmatičnosti političke prakse i nesputanih intelektualnih ideala. Njegov emigrantski put obilježila je angažiranost u sklopu hrvatske političke emigracije protiv komunističke Jugoslavije te osobna, imanentna težnja za slobodnom i neovisnom Hrvatskom, koju je neizmjerno volio te koja mu je bila nepresušan izvor intelektualne inspiracije u egzilu. Po osamostaljenju Republike Hrvatske, razočaran surovom stvarnošću hrvatske postkomunističke tranzicije, povukao se u svojevrsnu unutarnju emigraciju, postavši jedan od najžešćih kritičara novih hrvatskih vlasti, na čelu s Franjom Tuđmanom i Hrvatskom demokratskom zajednicom. Odbio je zatvoriti oči pred sveopćom korupcijom, nepotizmom, nacionalizmom i svim drugim negativnim fenomenima hrvatske suvremenosti – ostavši do kraja intelektualno dosljedan samome sebi i svojoj unikatnoj ljubavi prema Hrvatskoj. Iza Borisa Marune ostaju njegova brojna intelektualna priviđenja, koja povjesničar ne smije previdjeti.This master's thesis analyzes the intellectual legacy of Boris Maruna, from his emigrant and homeland period after his return to the Republic of Croatia, until his death in 2007. Although he was primarily a poet by vocation, Boris Maruna marked the second half of the twentieth century of Croatian history with his broad intellectual, political and public activity. With his own example, he stood for individualism, uncompromisingness and independence of intellectuals. He emphasized the extremely important social role and responsibility of the intellectual, in the form of a brave and constant criticism of all social anomalies - even at the cost of his own misfortune, which he bypassed with poetry and irony. With his impact, he tried to reconcile the gap between the pragmatism of political practice and unrestrained intellectual ideals. His emigrant journey was marked by engagement within the Croatian political emigration against communist Yugoslavia and a personal, immanent desire for a free and independent Croatia, which he loved immensely and which was an inexhaustible source of intellectual inspiration in his exile. After the independence of the Republic of Croatia, disappointed by the harsh reality of Croatia's post-communist transition, he withdrew into peculiar kind of internal emigration, becoming one of the fiercest critics of the new Croatian authorities, led by Franjo Tuđman and the Hrvatska demokratska zajednica. He refused to close his eyes to the general corruption, nepotism, nationalism and all other negative phenomena of Croatian modernity - remaining intellectually consistent to himself and his unique love for Croatia. Behind Boris Maruna remain his numerous intellectual phantasms, which historian should not overlook
Computational Analysis and Minimum Vocabulary of the Turkish Language in the Field of Contract Law: The Case of the Turkish Code of Obligations
No full textOvaj diplomski rad primjenjuje metodologiju korpusne i računalne lingvistike pri analizi korpusa sastavljenog od ugovornih odredbi Zakona o obveznim odnosima Republike Turske (Türk Borçlar Kanunu) s ciljem izrade minimalnog vokabulara jezika struke. Rad je strukturiran u dva dijela. U prvom se dijelu iznosi teorijski okvir i definiraju temeljni pojmovi, dok je drugi dio posvećen analizi korpusa i prikazu dobivenih rezultata. U zasebnim poglavljima izdvojene su najistaknutije značajke zakonodavno-pravnog registra ugovornog prava te izazovi s kojima se susrelo prilikom prevođenja rječničkih natuknica. Minimalni vokabular pokriva 95,4% analiziranog korpusa, što bi u skladu s dosadašnjim istraživanjima jezika struke trebalo omogućiti razumijevanje teksta korpusa nestručnjacima u predmetnom području. U skladu s time, smatra se kako bi minimalni vokabular mogao poslužiti kao kvalitetan materijal za studente i prevoditelje.This thesis applies the methodology of corpus and computational linguistics to the analysis of a corpus consisting of the contractual provisions of the Turkish Code of Obligations (Türk Borçlar Kanunu) with the aim of creating a minimum vocabulary. The thesis is structured in two parts: the first part presents the theoretical framework and defines the basic concepts, while the second part is dedicated to the corpus analysis and the presentation of the results. Separate chapters highlight the most prominent features of the legislative register in contract law and the challenges encountered in translating dictionary entries. The minimum vocabulary covers 95.4% of the analyzed corpus, which, in line with previous LSP research, should ensure that the corpus text is comprehensible to non-experts in the field. Accordingly, the minimum vocabulary could serve as a valuable resource for students and translators
Colour as an expository aspect of the narrative film
No full textDisertacija pod naslovom „Boja kao izlagački aspekt narativnoga filma“ istražuje ulogu boje u oblikovanju narativnih, estetskih i emocionalnih dimenzija filma. Kroz analizu povijesnih, tehničkih, kulturnih i umjetničkih aspekata, rad prati razvoj boje od ranih crno bijelih filmova do suvremene digitalne kinematografije naglašavajući utjecaj na filmsku naraciju i percepciju gledatelja.
Početno poglavlje bavi se filozofskim konceptom pojmova mimezisa i realizma, ističući kako su crno-bijeli filmovi koristili svjetlo i sjenu za stvaranje uvjerljivosti i atmosfere. Uvođenje boje označilo je novu fazu u filmskom jeziku, te je omogućilo dublje izražavanje i veću realističnost samog filmskog prikaza. Razmatra se i razvoj teorije boja od Newtona do suvremenih interdisciplinarnih pristupa koji uključuju psihologiju, umjetnost i tehnologiju, pokazujući kako su znanstvena otkrića utjecala na umjetnike i filmske autore. Analiza tehničkih i fizioloških aspekata boje uključuje pregled osobina ljudskog oka i percepcije boje kao svjetlosnog fenomena, što je prijeko potrebno za razumijevanje kako manipulacija bojama u filmu može proizvesti specifične emotivne i narativne učinke. Psihološke dimenzije percepcije boje istražuju na koji način različite boje izazivaju emocionalne reakcije i utječu na interpretaciju narativa, uzimajući u obzir kulturalne varijacije u simbolici boja. Disertacija isto tako svrstava boju u kontekst umjetnosti i kulture, analizirajući utjecaj velikih slikara i umjetničkih pokreta poput impresionizma i ekspresionizma na filmski jezik. Razmatra se kako su redatelji, primjerice Jean-Luc Godard i Ingmar Bergman, integrirali slikarska iskustva i vlastiti senzibilitet za boju u svoje filmove.
Povijest fotografije u boji prikazana je kao prekretnica koja je oblikovala percepciju stvarnosti i estetiku vizualnih umjetnosti. Fotografija u boji nije samo tehnološka inovacija već i estetski alat koji je otvorio nove mogućnosti narativnog i simboličkog autorskog rukopisa u mediju filmu. Nadalje, istražuje se i prijelaz s crno-bijelih filmova na filmove u boji, naglašavajući nove izazove i mogućnosti koje je boja unijela u vizualno pripovijedanju. U fokusu je posebno uloga boje u europskom filmu nakon 1960. godine, filmovi redatelja poput Krzysztofa Kieślowskog, koji se poigrava bojama francuske zastave, ili Pedra Almodóvara, koji koristi jarke i zasićene boje na simboličan i emocionalan način. Konkretni primjeri upotrebe boje u filmovima kao što su Crveni balon Alberta Lamorissea, Ludi Pierrot Jean Luca Godarda i u djelima Stanleya Kubricka ilustriraju kako boja može biti ključna za razumijevanje priče. Boja kod tih autora gotovo u svakom prizoru naglašava i odražava, ali i intenzivira narativnu strukturu te stvara napetost, čineći je integralnim dijelom filmske estetike.
Završno, disertacija analizira i kako digitalizacija kinematografije sustavno transformira upotrebu boje na filmu. Digitalni alati omogućuju veću kontrolu i eksperimentiranje s bojom, što ilustrira film Čudesna priča o Henryju Sugaru Wesa Andersona. Razmatraju se pitanja autentičnosti i percepcije stvarnosti u digitalnom dobu, kao i budućnost boje u svjetlu novih tehnologija poput proširene i virtualne stvarnosti. Disertacija na kraju zaključuje da boja nadilazi tehničku funkciju, te da je relevantan alat u oblikovanju narativa, izražavanju emocija i prenošenju simbolike. Kroz povijesne i suvremene analize rad pokazuje evoluciju boje u filmskom jeziku i ističe njezinu važnost u budućim istraživanjima i implementaciji inovativnih rješenja u filmskoj umjetnosti.The dissertation, titled Colour as an Expository Aspect of the Narrative Film, explores how color shapes the narrative, aesthetic, and emotional dimensions of film. Analyzing the historical, technical, cultural, and artistic aspects of color, the paper examines its role from the first black-and-white films to the digital era, considering how color influences the viewer's perception and contributes to the film's story. From its inception, film aimed to imitate reality, rooted in the philosophical concept of mimesis. Black-and-white films, although technically limited, developed sophisticated techniques for applying lighting and contrast to create persuasiveness and atmosphere. However, the pursuit of greater realism and visual diversity prompted the introduction of color as a significant artistic element, enabling a new acceptance and understanding of film language. The first chapter of the dissertation explores these beginnings, connecting the historical development of film with the philosophical concepts of realism and mimesis, while particularly emphasizing the introduction of color as a key element of the film image. This discussion serves as an introduction to a deeper consideration of the historical, theoretical, and technical aspects of color in film.
Furthermore, the history of color theory is covered, beginning with Isaac Newton, who was the first to scientifically explain the light spectrum, and continuing to modern theories that incorporate interdisciplinary research in psychology, art, and technology. Newton's discoveries provided the foundation for understanding color as a light phenomenon, while later theories expanded this understanding by adding subjective and cultural factors to color perception. Through a historical overview, the paper explores how scientific discoveries influenced visual artists, and later filmmakers, and how concepts of color evolved alongside the development of the medium. The paper also addresses the technical and physiological aspects of color as a light phenomenon, explaining the basic principles of physics related to color perception. It describes how the human eye is physiologically adapted to perceive certain wavelengths of light. This analysis provides the reader with a deeper understanding of how color transitions from a physical stimulus to a subjective experience in the human mind. This insight is important for understanding the technical and artistic aspects of filmmaking, where the manipulation of color can produce specific emotional and narrative effects.
The dissertation also explores the psychological dimensions of color perception. It examines how different colors evoke specific emotional responses, direct the viewer's attention, and influence the interpretation of narratives. The cultural symbolism of color is particularly significant in the language of film, as different cultures interpret colors differently. For instance, red is often associated with passion or danger in Western cultures, while in some Eastern cultures, it symbolizes happiness and prosperity. This complexity makes color a powerful yet delicate tool in narrative film. Color thus fits into the broader context of art and culture. The paper also explores how great masters of painting used color to express emotions and symbolism, and examines how directors such as Jean-Luc Godard and Ingmar Bergman drew inspiration from visual arts in shaping their films. Painting movements such as Impressionism and Expressionism had a profound influence on the development of film language, especially in the use of color to express the subjectivity and inner states of characters. The dissertation also focuses on photography as a new medium that shaped the perception of reality and the aesthetics of visual arts. The history of color photography follows technological developments from the first experiments to its mass application in the twentieth century. The aesthetics of color photography, particularly its ability to faithfully reproduce reality, laid the foundation for later innovations in film. The analysis shows that color photography is not only a technical innovation but also a dominant aesthetic tool, opening up new possibilities for narrative and symbolic expression.
Part of the work relates to visual storytelling with moving images, exploring the poetics of black-and-white film and the transition to color film. Despite the limitations of visual art, black-and-white films developed expressive techniques, such as contrast and light quality, which enriched the film narrative. With the standardization of color film, filmmakers faced new visual challenges and opportunities. Early experiments with color in film, although technically imperfect, laid the foundation for later masterpieces that use color as an indispensable narrative element. The focus of the dissertation is also on the role of color in European film after 1960, a period marked by innovation and creative exploration. Directors such as Krzysztof Kieślowski, who plays with the colors of the French flag, and Pedro Almodóvar, who uses color in highly symbolic and emotional ways, demonstrate how color becomes not only a means of visual persuasion but also a crucial tool for philosophical and social commentary. Through a detailed analysis of key films, the dissertation illustrates how European filmmakers expanded the functionality of color in the language of film.
Examples of specific uses of color in narrative film are discussed through films such as El Ballon Rouge (1956) by Albert Lamorisse and Pierrot le Fou (1965) by Jean-Luc Godard, as well as the works of Ingmar Bergman and Stanley Kubrick. In El Ballon Rouge, the red color of the balloon symbolizes freedom, innocence, and childhood imagination, while in Pierrot le Fou, color emphasizes the emotional intensity and chaotic nature of the narrative. Kubrick's precise and often symbolic use of color, for example in The Shining (1980), contributes to creating tension and deepening the meaning of specific scenes, making color an integral part of his film aesthetics.
The dissertation also analyzes the digitalization of cinema and how modern technologies transform the use of color in film. Digital tools allow for greater control over color, from shooting to post-production, expanding the scope for filmmakers to experiment. The Wonderful Story of Henry Sugar (2023) illustrates how contemporary filmmakers use color to balance realism and artificiality. Digital technology opens new aesthetic horizons but also raises questions about authenticity and the perception of reality in film. Discussing the future of color in film, the dissertation considers rapid technological changes, such as augmented reality and virtual reality, confirming that new technologies will further expand the practicality and effectiveness of color in film.
Finally, the dissertation concludes that color in film transcends its technical function, becoming a critical tool in shaping narratives, expressing emotions, and conveying symbolism. Through historical, theoretical, and practical analyses, the paper demonstrates how color evolved from a technical addition to the film image to an integral element of film language. This evolution enables filmmakers to use color as a means of shaping meaning, atmosphere, and audience interaction. Ultimately, the dissertation highlights the importance of further research into the role of color in film, particularly in light of new technologies and cultural changes that are redefining how we experience visual media. In summary, color remains a dynamic and complex aspect of film that continues to inspire creativity and innovation in the art of filmmaking
Gender representation in the Croatian daily press 2008-2018
No full textOva doktorska disertacija analizira nedovoljnu zastupljenost žena u hrvatskom društvu i medijima, osobito u političkim životu i temama od javnog interesa. Čini se kako opća dekadencija društva, društvene antagonizme stavlja u okvire socijalnih, kulturnih i društvenih prava. Te se suprotnosti često prelamaju preko leđa žena. Dosadašnja kraća istraživanja položaja žena u medijima, pokazala su da je prevladavajuća uloga žena kao javnih osoba ili žena sa negativnim imidžem u javnosti. U slučajevima kad su žene tragični akteri, struktura vijesti, naslova i opreme, pojačava stereotipnost prikaza. Žene su rijetko prikazane kao stručnjaci ili lideri, a često su prikazane u kontekstu njihove obitelji ili fizičkog izgleda.
Cilj je kvantitativno i kvalitativno istražiti kako se mediji bave temom ravnopravnosti, uz dodatak intervjua s novinarima i urednicima kako bi se razumjeli njihovi pristupi i odluke.
U odnosu na postavljene hipoteze, kvantitativna analiza obuhvatila je 4 vodeća hrvatska dnevnika od 2008 do 2018. godine, pet godina prije i pet godina nakon ulaska u EU. Kvantitativna analiza obuhvatila je također osim definiranje uzorka, konstrukciju analitičke matrice, provedbu analize i provjeru pouzdanosti. Analitička matrica bila je mjerni instrument za analizu, usporediv sa upitnikom u anketnim istraživanjima. Kvalitativna analiza obuhvatila je i analizu sadržaja, polustrukturirane intervjue i opažanja. Analiza sadržaja pokazala je kako se žene često prikazuju kao senzacija sama po sebi, a ne društveno ravnopravan partner.
Novinari su važni. Većina novinara i urednika smatra kako mediji danas uglavnom prenose informacije te da tabloidno novinarstvo ima veću zastupljenost u prikazu žena od istraživačkog novinarstva, jer istraživačko novinarstvo danas postaje opasan posao, zbog povećanog broja napada na novinare. Veći dio novinara slaže se o potrebi angažiranijeg novinarstva kad je riječ o položaju žena. Istraživanje pokazuje kako su potrebne i značajnije promjene u izvještavanju, edukacija novinara i urednika, primjena novih istraživačkih metoda, te promjena novinskih politika koje favoriziraju muške perspektive. Najčešći seksistički stereotipi kada je o ženama riječ jesu ti da su žene emocionalnije, majke, domaćice, manje sposobne i inteligentne te iracionalne. Prikazane su često kao seksualni objekti, a seksistički jezik i komunikacija često uključuju korištenje i muškog roda kao univerzalnog. Preliminarni nalazi potvrđuju da, unatoč povećanoj javnoj svijesti, stvarni napredak u medijskoj reprezentaciji žena nije ostvaren. Mediji i dalje imaju velik utjecaj na oblikovanje javne percepcije, čime mogu igrati ključnu ulogu u promicanju ravnopravnosti ili, suprotno, u njezinu potkopavanju.This doctoral dissertation analyzes the underrepresentation of women in Croatian society and the media, especially in political life and topics of public interest. It seems that the general decadence of society places social antagonisms within the framework of social, cultural and social rights. These contradictions are often reflected over the backs of women. Shorter research to date on the position of women in the media has shown that the predominant role of women is as public figures or women with a negative image in the public. In cases where women are tragic actors, the structure of the news, headlines and equipment reinforces the stereotyped portrayal. Women are rarely portrayed as experts or leaders, and are often depicted in the context of their family or physical appearance.
The aim is to quantitatively and qualitatively investigate how the media deal with the topic of equality, with the addition of interviews with journalists and editors in order to understand their approaches and decisions.
In relation to the hypotheses set, the quantitative analysis included 4 leading Croatian dailies from 2008 to 2018, five years before and five years after joining the EU. The quantitative analysis included, in addition to defining the sample, constructing the analytical matrix, conducting the analysis and checking reliability. The analytical matrix was a measuring instrument for the analysis, comparable to a questionnaire in survey research. The qualitative analysis also included content analysis, semi-structured interviews and observations. The content analysis showed that women are often portrayed as sensations in their own right, rather than as socially equal partners.
Journalists matter. Most journalists and editors believe that the media today mainly transmit information and that tabloid journalism has a higher representation of women than investigative journalism, because investigative journalism is becoming a dangerous job today, due to the increased number of attacks on journalists. Most journalists agree on the need for more engaged journalism when it comes to the position of women. The research shows that more significant changes are needed in reporting, education of journalists and editors, application of new investigative methods, and changes in newspaper policies that favor male perspectives. The most common sexist stereotypes when it comes to women are that women are more emotional, mothers, housewives, less capable and intelligent, and irrational. They are often portrayed as sexual objects, and sexist language and communication often include the use of the masculine gender as universal. Preliminary findings confirm that, despite increased public awareness, real progress in the media representation of women has not been achieved. The media still have a great influence on shaping public perception, which can play a key role in promoting equality or, conversely, in undermining it
The relationship between the female, feminine and textual in the work of Oriana Fallaci
No full textU disertaciji se razmatra prisutnost specifičnoga ženskog govora (le parler femme) i ženskog pisma (l'écriture féminine) u opusu Oriane Fallaci te njihov odnos s autoricom kao stvarnom, izvantekstualnom osobom. Polazi se od spoznaja poststrukturalističke teorije teksta te psihoanalitičkog feminizma, koje se proširuju rezultatima istraživanja u području kognitivne lingvistike, pragmalingvistike i teorije roda. Pomnim čitanjem odabranih naslova iz Fallacinog opusa te lingvističkom analizom odabranih ulomaka opisat će se odnos ženskog, ženstvenog i tekstualnog. Na temelju kritičkoga čitanja teorijske literature i rezultata analize polaznih i ciljnih tekstova revidirat će se model ženskog pisma, koji će uvažiti i rezultate istraživanja u području lingvistike i teorije teksta. Interdisciplinarnost teme zahtijeva osmišljanje i razvijanje prikladne metodologije, kombinirajući istraživačke metode i postupke svojstvene disciplinama i(li) pristupima iz kojih proizlazi tema rada. Naime, pitanje ženskosti i ženstvenosti utemeljeno je u psihoanalitičkoj teoriji te teoriji roda, uspostavljajući poveznice s teorijom teksta i lingvistikom dolazi se do uočavanja osobitih odnosa između roda, spola i teksta. Usvojene spoznaje i metode primjenjuju se u lingvističkoj analizi važnih dijelova odabranih tekstova deskriptivnom te analitičko-poredbenom metodom. Metodom indukcije, sinteze i apstrakcije, na temelju analiziranih primjera, o razmatranome konceptu i navedenim odnosima, ženskog, ženstvenog i tekstualnog, oblikuje se zaključak o prisutnosti seksualiziranog pisma u opusu Oriane Fallaci. Očekivani je znanstveni doprinos ovoga rada u boljem razumijevanju odnosa između roda, spola i jezika, te produbljivanju suvremenih istraživanja o ženskom glasu i pismu. Rezultati predstavljaju doprinos dosadašnjim istraživanjima o Oriani Fallaci, s naglaskom na specifičnost ženskog izraza, te nude nov interdisciplinaran teorijski model za razumijevanje njezinih tekstova.This complex interdisciplinary doctoral dissertation examines the reciprocal relationships between sex, gender and language, the influence of female sex and gender on language and the particular characteristics of female and feminine speech (le parler femme), female and feminine writing (l'écriture féminine), as well as their presence in the work of Oriana Fallaci. Theoretical investigation of the specific characteristics of female writing began in the second half of the previous century, based on the influence of Freudian psychoanalysis, which helped to define, for the first time, some basic characteristics of female personality and character (Freud, 2006). Freud relates the female and the feminine to elements of the Oedipal and pre-Oedipal paradigm (p. 412), as well as to the structuring, i.e. the lacking compactness of the psychic Super-structure (p. 415). On this, partly by nature determined, passive femaleness and femininity society and social order, emphasizes Freud, superimpose additional conventions and norms (p. 405). Jacques Lacan confirms Freud's thesis about female nature and locates the female and the feminine outside the language area, beyond the symbolic and emblematic area, identifying them as „non-phallic“, therefore „incomplete“ (Lacan, 2017). Insisting on the supremacy of the Phallus, Lacan leaves the woman marked as „a space of sexual breakthrough“ (Lacan 1983, p. 255-257). Post-Freudian psychoanalysis tries to move the Freudian concept of the Oedipus complex backwards, emphasizing the pre-Oedipal stage as a key stage for sexual maturing and identity formation, annulling, in that way, female and feminine marginalization (Laplanche and Pontalis 2010, p. 433-434). The final move from androcentric theories of sexuality is notable in Jung's texts, which see the female psychological structure and personality as different, dominantly intuitive, sensorial and emotional (Jung 1977, p. 225-226) with the presence of the innate picture of the other sex, the so-called animus (p. 206-208), a theory that later helped to define terms like subpersonality, contrasexuality and bisexuality inside the textual space (Young-Eisendrath, 2004). Beauvoir rejects all psychoanalytic interpretations of the female and the feminine, claiming that they understand sexuality and existence as one (Beauvoir, 2016, p. 58), and emphasizes that female and feminine characteristics are not innate (p. 287). Also, she explains that women's artistic creations are influenced by experiences, as well as by women's marginalized social position, and the feeling of psychological and emotional inhibition. Therefore, she reflects upon the following question: speaking of female creativity, can we distinguish between sex and gender? (Beauvoir, 2001). Ellmann (1968) explains how femininity is a socially constructed term, which in no way describes real nature and is also impossible to fix textually because it is in a constant process of linguistic deconstruction. Therefore, Ellmann concludes that it is impossible to define a female text or a female sentence (p. 172). Gilbert and Gubar (1979), examining the nature and the dynamic of female artistic creativity, propose a new theoretical model in order to understand female textual strategies, pointing out the ways they differ from strategies of male authors, especially when it comes to syntactic constructions and deconstructions, syntagmatic and paradigmatic fragmentation, as well as the presence of the author's voice. Also, they claim that every text written by a woman hides the real presence of a woman, and if the text is not the author itself, then at least it is an extension of her subconscious mechanisms (p. 85-90). Kolodny (1975) deals with the exploration of female textual strategy as a separate category, explaining, more carefully, how by emphasising the specificity of female writing, we necessarily define the qualitative portion of gender and sex (p. 76-78), while Showalter (1981) focuses on the importance of a systematic extra-textual gynocentric approach to women's texts, rejecting conventional and formal theoretical research approaches, sympathising with those researches that have, in the most obvious way, contributed to a large understanding of the female subculture, such as anthropology, psychoanalysis, linguistics, as well as cultural theories. Further, Jehlen (1981) remarks that female texts are indeed codified messages of the author's voice. Also, Irigaray (1974) believes that Western philosophic discourse sees woman as „a mirror reflection of the male subject“ and femininity as „a negative of the masculine reflection“ (p. 20). In that way, the female and the feminine become secondary products, always influenced primarily by passing through the male imagination. Irigaray sees a significant analogy between female morphology and female psychology. Both are plural, inclusive and fluid, always privileging contiguity (Irigaray 1977, p. 24-25), nevertheless, womanspeak (le parler femme) is characterized by a strong intimate connection to the woman's own body, as well as the resistance to denotability and the final meaning (p. 76). Cixous (1977) reflects on the female and the feminine inside the textual, claiming that a feminine text „works on différance“ (p. 480), on breaking up the binary opposition system. Also, female writing would be a pleasure area (jouissance), an area of continuous exchange with the other (Autre), a libidinous act that denotes „the articulation of desire in language“ (Moi 2007, p. 176), through it the sexual penetrates the textual, merging together and becoming one. Cixous emphasizes that female writing (l'écriture féminine) is indeed a speech act, so femininity in writing can actually be discovered as privileging the speaking voice, because the woman who speaks „physically materializes her thoughts“, designates them with her own body (Cixous 1975a, p. 251; 1975b, p. 170). On the other hand, Kristeva (1974) refuses to define the female and the feminine, arguing that such a terminology closes up the varying area of meaning and determines the mentioned characteristics as unchangeable ontological essences. Questioning the possibility of defining female identity (Kristeva 1981, p. 36), she also questions the possibility of defining female writing. Denying every form of biologism and essentialism, she rejects the metaphysic dichotomy of the feminine and the masculine, considering the female and the feminine only as marginalized positions in opposition to centralized structures of power. Cavarero (2002) rejects almost everything that was written until now, claiming that a particular female language does not exist, because women always interpret reality through the language of the Father, translating and learning it, truly believing that it belongs to them. During this appropriation process, she concludes, some cracks and gaps are developed, as well as silence and misunderstanding. The research continues with a critical commentary of the terms female identity, nomadic subject and female identity as a metaphysic construct, also confirmed by comparative analysis of Braidotti's (2002) work, mostly based on Deleuze and Guattari's philosophic research on nomadism, which offers a theory of female identity as a floating term, Butler's work (1990), which examines Foucault's thesis on corporality and identity, and Battersby's work (1998), which completely twists the Western metaphysical concept of female identity around, claiming how female and feminine are not permanent and final forms. Finally, this theoretical research is employed in a detailed analysis of Oriana Fallaci's work, specifically focusing on the author's voice, mostly inseparable from Fallaci herself as an extra-textual, real person. Fallaci's earlier works, Il sesso inutile (1961) and Penelope alla guerra (1962), show the author's negation of the binary and bipolar structuralist phallogocratic system (Derrida, 2007), in other words, they demonstrate the recognition of the post-structuralist concept of heterogeneous diversity, différance (Cixous 1977a, p. 180), which gives particular fluctuating and mobile characteristics to the written word, setting it free from limitations of final closure and definitive designation. Achieving temporal and spatial openness of the text, in other words, the open system of designation, signifiance (Kristeva 1980, p. 27), the author enters the space of continuous shaping and „heterogeneous destructive causality“ (p. 27), annulling the archaic understanding of language as a stable, monolithic, compact and complete system of signs. Leaving behind the standard Saussurean concept of language, defining the female subject position, i.e. her object choice, both closely related to woman's physiological, sociological and psychological status (Fallaci 1961, p. 254), as marginal and subversive (p. 9) in opposition to the centralized and institutionalized patriarchal structures of power, pouring out sex and gender ambivalence, i.e. the subversion of the body and identity (Fallaci, 1962), into the heterogeneous area of linguistic semiosis, Fallaci thoroughly deconstructs basic installations of the symbolic order, unconsciously confirming her female and feminine writing as marginal, heterogeneous and subversive (Kristeva 1977b, p. 3-8). Fallaci's bisexual textual strategy (Fallaci, 1962), which points to the author's firm bond with both the erotic and the emotional half of the unconscious (Cixous, 1975b), dissolving and decanting the Western paradigm of phallic monosexuality and the Oedipal context, denotes textual space as a space of libidinal freedom and complete relaxation of libidinal impulses (Bonfante 1975, p. 72), a place of marked affinity for writing as a process of the carnal materialization of the voice (Cixous, 1975c). Moving away from conventional morphosyntactic laws and turning back to writing as voice, a speech act that materializes sexuality, leads Fallaci's textuality in a bodily, female and feminine, direction. With her own voice, the ultimate incarnation of desire inside language (Lacan, 1992), which emerges from the most inaccessible layers of the psyche, the author masters and surpasses the space of the symbolic, bringing writing back to the body, to a place beyond the signified. Fallaci's fluid and viscous writing (Gatt-Rutter 1996, p. 72) is situated in the space outside the Law. Its mobile, manifold and variable characteristics enable the constitution of the infinite process of linguistic semiosis. The qualitative and quantitative distribution of prosodemic and punctuation elements, as well as phonetical and morphological interventions, turn the physical into metaphysical, the body into text. The unconventional and informal, extremely phonic and tactile (Irigaray 1977, p. 76), rhetoric deletes the boundaries between the physical and the psychological, reality and fiction, text and context. Fallaci's pre-Oedipal rhetoric, especially present in Lettera a un bambino mai nato (1975), denotes a firm connection between the author's material body (female) and the physical materialization of her voice (feminine) with the infinite imaginary textual space (Cixous 1975c, p. 170). Analysing the very intimate communication between a woman and the child in her womb, in other words, the author and her unborn text (Fallaci, 1975), Gatt-Rutter (1996, p. 63) posits his thesis on the female body that talks, on tissues that emanate thought and language, on the so-called placental rhetoric with pronounced phonic amplitudes that travel through biological tissues and bodily fluids. This imaginary cosmic watery space of heterogeneousness (Cixous 1975b, p. 260), dominated by sound, fluid and touch, acts as a symbol of an absolute rhetoric of freedom, a complete absence of all symbolic authorities, but also as a symbol of femininity, of the natural and direct connection with one's own femaleness. Fallaci's refusal of all forms of Oedipal totalitarianism and hegemony, as well as moving away from already established generic conventions, will result in atypical generic entities bearing a pronounced psychological stamp of the author (Porzio, 1965). These formally undefined texts will follow the program of the so-called non-Oedipal aesthetics (Irigaray, 1974), within which predictability and completeness, integrity and totality, order and system give up their places to spontaneity and fragmentariness, variability and heterogeneousness, overlapping and interweaving. Aricò (1998, p. 167) emphasizes how in Fallaci's case this resulted in a formal creative mess, an almost complete fusion of reality and fiction, a blurred transition from the written to the spoken word, an overlapping of extradiegetic and intradiegetic levels, i.e. in the constitution of a firm semantic and syntactic connection between the author and the narrator (Fallaci 1990, p. 596). This incongruous and asymmetrical textual structure is a result of the complete absence of the universal, omniscient and superior author's self existing outside the textual borders. Fallaci's female and feminine linguistic creativity opposes the phallic hierarchic system, which includes an already constructed author's identity. Inclined towards poststructuralist methodology, which sees the author and the narrator as results of rhetorical strategies, i.e. sees the text as a superior and privileged term (Cavarero, 1977), as well as rejecting the conventional methodological approach (Aricò 1998, p. 171-173), pronouncing but at the same time overhearing the text (Derrida 1988, p. 13), the author turns the subject into an object, the text into a „verbal projection of her own self“ (Aricò 1986, p. 587). Fallaci's subversion of the author and the narrator, more obvious in novels Niente e così sia (1969) and Un uomo (1979), turns the textual into vocal (Spinazzola, 1979), biography into autobiography (Rosa 1982, p. 77-80), reality into fiction (Aricò 1998, p. 172). In line with French poststructuralism, Fallaci gives up the affirmation of the authorial subject as an omniscient extradiegetic identity, distanced from his/her own text. In her opinion (p. 172), the authorial subject is a rhetorical construct, constituted by interpretative procedures, moments in which the subject of the text and the subject of reading exchange their places. Giving up an already constructed authorial personality reveals the process of writing as a process of reconstruction of one's own being (Gusdorf 1991, p. 10). Through writing, and injecting of pieces and fragments of linguistic reality, a (re)construction of the authorial subject is enabled, as well as his/her positioning related to the reality that he/she describes (Cavarero, 1997; Battersby, 1989). Such discursive methods, in Cavarero's opinion (1997, p. 100-101), reflect the influence of the female and the feminine, and will result in a neverending process of linguistic semiosis. Fallaci's texts, charged with a strong feminine „vocal imprinting“ (Milani 1971, p. 30), become, in this way, a mirror space in which the author's self, by a mise an abîme effect (Fallaci 1990, p. 157), reflects and multiplies, a space of performative linguistic strategies (Finci 2011, p. 119). The countercultural revolution and the sexual liberation movement of the 1960's and 1970's brought change to language, media and the field of interpersonal communication, as well as the journalism sector. New unconventional discursive methods were developed and replaced old fashioned and rigid formal criteria with alternative contextual and extra-textual methods of analysis. The text is no longer a closed space of signs and designation (Showalter, 1979), but an open space of interpretative cooperation, a space where the author's experiences, his/her subjective perspective and intellectual judgement are prominent. Subjectivity, polymorphism and linguistic subversion of new journalistic forms, such as New Journalism, especially attracted Oriana Fallaci, mostly in the years when her interest in liberal socialism and women's liberation was at the highest level (De Stefano 2015, pp. 179; 188-189). Her desire for liberation, formally and linguistically, from patriarchal phallocentric political oppression is far more obvious in her, at that time, most successful texts, gathered and published in four extensive collections: Gli antipatici (1963), Se il sole muore (1965), Quel giorno sulla luna (1970), and Intervista con la storia (1974). Her non-Oedipal, subversive and subjective writing, marginal to established linguistic structures of power, demonstrates her linguistic dissident position (Kristeva 1977b, p. 3-8), i.e. her marginalized subject position. By rejecting the formal canon, embracing new analytical and critical methods of thinking, as well as engraving her personal political and psychological imprint, the author portrays and projects her own, female and feminine, voice. David Sanford (1975) ascribes the success of these Fallaci's texts to the author's awareness of the comparative advantages of her own sex, mainly intuition and empathy (Jung, 1971), which enable her extremely precise and clearly directed process of psycholinguistic autopsy, so-called surgical journalism (Sanford 1975, p. 102), the penetration and section of thought and language. By breaking the contract with phallogocratic linguistic authorities, giving up norms, the binary and bipolar hierarchic organization of language and cultural symbols, the author clearly establishes connections to the so-called nomadic aesthetic (Braidotti, 2002), one of the postmodern interpretations of anthropological, cultural and linguistic phenomena in which tradition and territorial stability give way to cultural transition and linguistic deterritorialization (Deleuze and Guattari, 1986). Fallaci's nomadic writing, first of all defined by her transitional and floating nomadic subject position (Braidotti 2002, p. 13), is a non-Oedipal answer directed to the firm and stable „authoritative régime of tyrannical fathers“ (p. 37). Through it, the author shows her disobedience to the symbolic order, patriarchal dogmas and to centralized Western systemic institutions. Deconstructing the phallogocratic hierarchic system of binary and bipolar oppositions (Derrida 2007, p. 298), going back to the position of cultural and linguistic relativism (Said, 1978), she opposes the Saussurean concept of the transcendental signified, the privileged and closed linguistic system (Derrida 2007, p. 299). Fallaci's female and feminine nomadic style, aiming for the deconstruction of the superior hierarchic standard linguistic system, as well as the demystification of Western political enclaves, is an open inter and transdisciplinary linguistic bricolage. Through putting in and pouring out of different concepts, linguistic variants and registers, sociolects and dialects, the author replaces the symbolic area of the Law, dominated by sexual and linguistic puritanism (Braidotti 2002, p. 29), with an imaginary area of linguistic democracy, a space where all kinds of linguistic substrata, heterogeneous lines of linguistic transition and transgression shift racial, class, ethnical, sexual and gender boundaries (Fallaci, 1990), questioning the term identity. Fallaci's affinity for exotic nomadic landscapes at the boundaries of heterogeneous cultures and linguistic substrata, such as Beirut's „no man's land“ (Lyotard 1997, p. 116) described in the war triptych Insciallah (1990), parallels the author's affinity for the process of linguistic deterritorialization (Braidotti 2002, p. 36-37), a process of continuous linguistic, temporal and spatial dislocation. Mostly through the use of imperfective verbs, translinguistic and transcultural transpositions (Fallaci 1990, pp. 20; 30; 33; 35; 58; 68-69; 74),
Politics of education in Bosnia and Herzegovina on example of history teaching (1992-2018)
No full textPredmet istraživanja disertacije su politike obrazovanja u Bosni i Hercegovini te njihovo provođenje u oblasti nastave historije u osnovnim i srednjim školama u periodu od 1992. do 2018. godine. Cilj istraživanja bio je sagledati na koji način su one utjecale na kreiranje i održavanje tri nacionalna obrazovna sistema koja postoje u Bosni i Hercegovini. Obradom teme se želi ponuditi prikaz utjecaja nacionalnih politika na politike obrazovanja i njihovu refleksiju na nastavu historije, te ispitati na koji način i koliko su političke ideje i stereotipi našli svoje mjesto u nastavnim programima i udžbenicima historije i kakva im je uloga. Korištenje prošlosti za političke svrhe, manipulacije činjenicama iz prošlosti, selektivni pristupi zastupljeni kroz školske programe nastave historije su također u fokusu istraživanja jer kroz njih mogu vidjeti namjere onih koji ih kreiraju. Također želi se napraviti uvid u otpor koje su lokalne političke elite pružale pokušajima harmonizacije nastavnih programa i udžbenika koje je međunarodna zajednica u Bosni i Hercegovini nastojala provesti putem misije OSCE-a, Vijeća Evrope, UNESCO-a i sl. i kakvi su ciljevi takvog pristupa obrazovanju. U takvom odnosu sagledavaju se suprotnosti različitih ciljeva obrazovanja, odnosno njegove funkcije u društvu, održavanju nacije s jedne strane ili izgradnji vrijednosti čovjeka i globalnog društva, ekonomije i kulture s druge. Istraživanjem se definira linija osnovnih nacionalnih ideja i stereotipa koji se pojavljuju u nastavnim programima i udžbenicima koji ih prate u ovom periodu kao dio snažnih revizionističkih tendencija, te se uočava u kojoj se mjeri njihov intenzitet vremenom mijenja pod utjecajem djelovanja međunarodne zajednice u Bosni i Hercegovini i drugih organizacija koje su nastojale sprovesti politiku unaprijeđenja nastave historije u školama u Bosni i Hercegovini.U disertaciji se obrađuju obrazovne politike u Bosni i Hercegovini i njihova provedba u području nastave povijesti u osnovnim i srednjim školama od 1992. do 2018. godine. Cilj istraživanja bio je vidjeti kako su te obrazovne politike utjecale na stvaranje i očuvanje tri nacionalna obrazovna sustava koja postoje u Bosni i Hercegovini. Istraživanjem se željelo dati prikaz utjecaja nacionalnih politika na obrazovne politike i njihov odraz na nastavu povijesti te ispitati kako su i u kojoj mjeri političke ideje i stereotipi našli svoje mjesto u nastavnim programima i udžbenicima povijesti. Korištenje prošlosti u političke svrhe, manipulacija činjenicama iz prošlosti, selektivni pristupi zastupljeni kroz programe nastave povijesti u školama, također su u fokusu istraživanja, analizirajući namjere onih koji su ih kreirali. Također želio se napraviti uvid u otpor koje su lokalne političke elite pružale pokušajima harmonizacije nastavnih programa i udžbenika koje je međunarodna zajednica u Bosni i Hercegovini nastojala provesti putem misije OSCE-a, Vijeća Evrope, UNESCO-a i sl. i kakvi su ciljevi takvog pristupa obrazovanju. U takvom odnosu sagledavaju se suprotnosti različitih ciljeva obrazovanja, odnosno njegove funkcije u društvu, održavanju nacije s jedne strane ili izgradnji vrijednosti čovjeka i globalnog društva, ekonomije i kulture s druge.
Istraživanjem se utvrđuje linija temeljnih nacionalnih predodžbi i stereotipa koji se u nastavnim programima i udžbenicima koji ih prate kroz ovo razdoblje pojavljuju u sklopu snažnih revizionističkih tendencija te se promatra u kojoj se mjeri njihov intenzitet mijenjao tijekom vremena pod utjecajem međunarodne zajednice. i drugih organizacija u Bosni i Hercegovini koje su nastojale provoditi politiku unapređenja nastave povijesti u školama. Početna godina analize je 1992., kada je izbio rat na tlu Bosne i Hercegovine, čime je jedinstveni obrazovni sustav službeno transformiran u tri paralelna sustava organizirana po etnonacionalnim obilježjima, dok je završna godina istraživanja 2018., kada u nastavne planove i programe i udžbenike uvedeni su sadržaji o proteklom ratu koji se smatraju kontroverznim.
Tema je predstavljena sekvencijalno, pri čemu svako poglavlje predstavlja kronološku fazu u kojoj se obrazovne politike i njihove refleksije u društvu analiziraju kroz prizmu prethodno postavljenih koncepata. Kronološki pristup primijenjen je radi lakšeg praćenja dinamike promjena obrazovnih politika kroz sva tri obrazovna sustava – bosanski (bošnjački), hrvatski i srpski. Unutar svake od faza istražuju se i prikazuju oblici i manifestacije koncepata koji su u fokusu istraživanja: zakoni o obrazovanju, zakonske odluke, strategije, nastavni planovi i programi, udžbenici, priručnici i nastavna praksa u sva tri sustava te se uspoređuju jedni s drugima.
Poglavlje pod naslovom „Politički i društveni okvir obrazovanja u Bosni i Hercegovini“ bavi se najvažnijim događajima koji su utjecali na transformaciju obrazovanja sa zajedničkih temelja u tri odvojena obrazovna sustava te prikazuje administrativno uređenje Bosne i Hercegovine tijekom i nakon 1992. ratne 1995. godine. Ovo poglavlje obrađuje ključne pojmove vezane uz kompetencije u provedbi obrazovnih politika i kontekst u kojem se odvijalo obrazovanje u Bosni i Hercegovini u istraživanom razdoblju.
Cilj drugog poglavlja „Obrazovanje i nastava povijesti tijekom rata 1992.-1995.“ je objasniti korijene podjela u obrazovanju temeljenih na podjeli odgovornosti i uvođenju novih zakonskih propisa kao prijelaznih rješenja u ratnim okolnostima. U ovom se poglavlju opisuje i uspoređuje nastajanje i oblikovanje politika nacionalne povijesti, koje se manifestiraju kroz pojavu novih interpretacija nacionalne povijesti u nastavnim planovima i programima, ali i kroz korištenje novonastalih udžbenika i udžbenika uvezenih iz Hrvatske i Srbije. U novim pojmovima nacionalne povijesti istaknuti su primjereni narativi koji teže izgradnji i jačanju nacionalne svijesti i domoljubnih osjećaja kod učenika, te su posebno istaknuti i uspoređeni.
„Nastava povijesti nakon uspostave Daytonskog okvira (1996.-1998.)“ naziv je trećeg poglavlja koje opisuje stanje obrazovanja u prvim godinama nakon rata i uspostavu administrativnih okvira u Bosni i Hercegovini definiranih Zakonom o školstvu. U Daytonu potpisan Okvirni sporazum za mir u Bosni i Hercegovini. U ovom poglavlju fokus je na objašnjenju funkcioniranja decentraliziranog obrazovanja uspostavljenog daytonskim sustavom i izazovima koji su se u tom kontekstu pojavili u vezi s nastavom povijesti.
Poglavlje „Obrazovanje i nastava povijesti u reformskim procesima pod utjecajem međunarodnih organizacija 1998. – 2008.“ analizira pokušaje međunarodnih organizacija, prije svega OHR-a, OESS-a i Vijeća Europe, da kroz procese modernizacije i implementacije harmoniziraju nastavu povijesti. Europske strategije nastave povijesti u 21. stoljeću, usvajanjem prve Zajedničke jezgre, Okvirnog zakona o obrazovanju i smjernica za izradu udžbenika povijesti učinjen je značajan korak naprijed u harmonizaciji obrazovnih sustava u Bosni i Hercegovini. Prijelomna 2008. godina odabrana je kao godina kada je osnovano prvo zajedničko tijelo za obrazovanje u Bosni i Hercegovini na državnoj razini – Agencija za predškolsko, osnovno i srednje obrazovanje, koja je zajedno s Odjelom za obrazovanje Ministarstva civilnih poslova, preuzela ulogu koordinacije i harmonizacije obrazovnih politika u Bosni i Hercegovini.
U poglavlju „Obrazovanje i poučavanje povijesti 2008.-2018.“ prikazani su pokušaji implementacije različitih strategija i programa, prije svega Zajedničke jezgre kurikuluma za predmet Povijest, temeljeni na ishodima učenja, u nastavne planove i programe te se ocjenjuje njihova uspješnost. Ovo razdoblje karakterizira tehnička modernizacija udžbenika prema Smjernicama za izradu i vrednovanje udžbenika povijesti, ali ovoga puta bez međunarodnog monitoringa i snažne podrške međunarodnih organizacija u Bosni i Hercegovini. U ovom poglavlju govori se o ukidanju moratorija na poučavanje o ratovima 1990-ih koji je službeno nastupio 2018. godine. Ovaj događaj izdvojen je kao prekretnica u zasebnom poglavlju jer je poučavanje o 1990-ima doživjelo povratak ne samo u nastavne programe i udžbenike ali iu javnom prostoru, au nekim je slučajevima to izgledalo kao pravi povratak u devedesete.
Posljednje poglavlje posvećeno je komparativnoj analizi ključnih sadržaja iz udžbenika koji se tiču nacionalne povijesti, odnosno prikazu Bosne i Hercegovine kroz različita razdoblja, u skladu s temama koje se obrađuju u udžbenicima. Izdvojeno je pet tema: srednji vijek, osmansko razdoblje, doba narodnog preporoda u 19. stoljeću, Drugi svjetski rat i rat 1992.–1995. Teme su to kojima autori udžbenika posvećuju posebnu pozornost s obzirom na važnost njihove interpretacije za obrazovanje i odgoj novih generacija u duhu poželjnog narativa usklađenog s ciljevima nacionalne obrazovne politike.
Obilježja obrazovnih sustava u pogledu nastave povijesti za razdoblje 1998. – 2008. mogla bi se formulirati kao zadržavanje postojećih nacionaliziranih politika povijesti i njihova minimalna prilagodba zahtjevima koje međunarodna zajednica u Bosni i Hercegovini postavlja pred nositelje obrazovnih politika kako bi se osiguravati i provoditi mir. Politika kompromisa provodi se uopće ili minimalno u skladu s političkom voljom i zastupanjem vlastitih interesa ili u značajnijoj mjeri pod raznim pritiscima međunarodne zajednice u Bosni i Hercegovini, uvjetovanjem pristupa europskim integracijama, korištenjem fondova pomoći, političkih promjene ili nametanje zakonskih odluka.
Analizirani udžbenici pokazuju koliko je obrazac jednostranog tretiranja teme duboko ukorijenjen u praksi pisanja udžbenika i koliko su u tom činu zastupljeni nacionalni interesi i kolektivistički pristup s ciljem homogeniziranja vlastite nacije. Uostalom, udžbenici nastaju na temelju važećeg nastavnog programa, odnosno kurikuluma, u kojem su jasno definirani ciljevi i ishodi nastave, a koliko god politika i ideologija bila upletena u sam proces, rezultati će ostati na razini uspostavljene države.
Obrazovne politike u provedenom istraživanju prate se na temelju prakse i djelovanja, a manje kroz osmišljene i pažljivo planirane strategije. Samo na području Republike Srpske u analiziranom razdoblju donesena su dva strateška dokumenta u oblasti obrazovanja, što je jedino moguće s obzirom na njeno centralizirano uređenje. U Federaciji Bosne i Hercegovine, zbog administrativne i etnonacionalne decentralizacije, nije bilo mogućnosti za usvajanje slične strategije. Čak ni političke stranke koje su pozicionirane u svojim programima nemaju jasno definiranu obrazovnu politiku, pa se čini da se odluke donose spontano. Ipak, na temelju provedene prakse uočava se jasan kontinuitet u ciljevima obrazovnih politika, naime one, između ostalog, služe homogenizaciji nacionalnih skupina, a uz pomoć nastave povijesti posebice grade pozitivan odnos prema vlastitoj naciji i poticanje diferencijacije i neprijateljstva prema drugima.The dissertation treats the politics of education in Bosnia and Herzegovina and their implementation in the field of history teaching in primary and secondary schools from 1992 to 2018. The objective of this research was to see how these education policies influenced the creation and preservation of the three national education systems that exist in Bosnia and Herzegovina. The investigation aimed to offer a presentation of the influence of national politics on education policies and their reflection on history teaching and to examine how and to what extent have political ideas and stereotypes found their place in teaching programs and history textbooks. The use of the past for political purposes, manipulation of facts from the past, selective approaches represented through history teaching programs in schools, are also in the focus of the research, analysing the intentions of those who created them. We also want to gain an insight into the resistance of local political elites to attempts to harmonize curricula and textbooks, which the international community in Bosnia and Herzegovina tried to implement through the mission of the OSCE, the Council of Europe, UNESCO, etc. and what are the goals of such an approach to education. In such a relationship, one can see the opposites of the various goals of education, i.e. its function in society, maintaining the nation on the one hand or building the values of man and global society, economy and culture on the other.
The research defines the line of basic national ideas and stereotypes that appear in teaching programs and textbooks that accompany them throughout this period as part of strong revisionist tendencies, and it is observed to what extent their intensity changed over time under the influence of the international community and other organizations in Bosnia and Herzegovina that tried to implement the policy of improving the teaching of history in schools. The initial year of the analysis is 1992, when the war broke out on the territory of Bosnia and Herzegovina thereby officially transforming the unique education system into three parallel systems based on ethno-national characteristics, while the final year of the research is 2018, when contents about the last war were introduced into curricula and textbooks, which are considered controversial.
The topic is presented in a sequential manner, whereby each chapter represents a chronological phase in which education policies and their reflections in society are analysed through the prism of previously established concepts. The chronological approach was applied in order for the easier monitoring of the dynamics of changes in education policies through all three educational systems - Bosnian (Bosniak), Croatian and Serbian. Within each of the phases, the forms and manifestations of the concepts that are the focus of the research are explored and presented: laws on education, legal decisions, strategies, curricula, textbooks, manuals and teaching practices in all three systems and are compared with each other.
Chapter entitled "The political and social framework of education in Bosnia and Herzegovina" deals with the most important events that influenced the transformation of education from common foundations into three separate educational systems and presents the administrative organization of Bosnia and Herzegovina during and after the 1992-1995 war. This chapter treats the key concepts related to competences in the implementation of education policies and the context in which education was carried out in Bosnia and Herzegovina in the researched period.
The aim of the second chapter "Education and teaching of history during the war 1992-1995" is to explain the roots of divisions in education based on the division of responsibilities and the introduction of new legal regulations as transitional solutions in wartime circumstances. This chapter describes and compares the emergence and shaping of national history policies, which have been manifested through the emergence of new interpretations of national history in curricula, but also through the use of newly created textbooks and textbooks imported from Croatia and Serbia. In the new concepts of national history, appropriate narratives are highlighted that strive to build and strengthen national consciousness and patriotic feelings among students, and they have been particularly highlighted and compared.
"Teaching history after the establishment of the Dayton framework (1996-1998)" is the title of the third chapter which describes the state of education in the first years after the war and the establishment of administrative frameworks in Bosnia and Herzegovina as defined by the Framework Agreement for Peace in Bosnia and Herzegovina signed in Dayton. In this chapter, the focus is on explaining the functioning of decentralized education established by the Dayton system and the challenges that arose in that context in connection with history teaching.
The chapter "Education and teaching of history in reform processes under the influence of international organizations 1998-2008" analyses the attempts of international organizations, primarily the OHR, the OSCE and the Council of Europe, to harmonize history teaching through the processes of modernization and implementation of European strategies on teaching history in the 21st century. The adoption of the first Common Core, the framework law on education and guidelines for writing history textbooks was a significant step forward in the harmonization of education systems in Bosnia and Herzegovina. The cut-off year 2008 was chosen as the year when the first joint body for education in Bosnia and Herzegovina was established at the state level - the Agency for Preschool, Primary and Secondary Education, which, together with the Education Department of the Ministry of Civil Affairs, had the role of coordinating and harmonizing education policies in Bosnia and Herzegovina.
The chapter "Education and teaching of history 2008-2018" presents attempts to implement various strategies and programs, first of all Common Core curricula for the subject of History, based on learning outcomes, into curricula and evaluates their success. This period is characterized by the technical modernization of textbooks according to the Guidelines for writing and evaluating history textbooks, but this time without international monitoring and strong support from international organizations in Bosnia and Herzegovina. This chapter addresses the ending of the moratorium on teaching about the wars of the 1990s that officially took place in 2018. This event was singled out as a turning point in a separate chapter because teaching about the 1990s experienced its return not only in curricula and textbooks but also in the public space, and in some cases it looked like a return to the nineties in a real sense.
The last chapter is devoted to the comparative analysis of key contents from textbooks concerning national history, that is, the presentation of Bosnia and Herzegovina through different periods, in accordance with the topics covered in the textbooks. Five themes were singled out: the Middle Ages, the Ottoman period, the era of national revival in the 19th century, the Second World War and the 1992–1995 war. These are topics to which textbook authors pay special attention, considering the importance of their interpretations for the education and upbringing of new generations in the spirit of a desirable narrative aligned with the goals of the national education policy.
Characteristics of educational systems in terms of history teaching for the period 1998–2008 could be formulated as retaining the existing nationalized history policies and their minimal adaptation to the requirements that the international community in Bosnia and Herzegovina presents to the holders of education policies in order to ensure and enforce peace. The policy of compromise is carried out at all or minimally in accordance with political will and representation of own interests or to a more significant extent under various pressures of the international community in Bosnia and Herzegovina, conditioning access to European integration, using aid funds, political changes or imposing legal decisions.
The analysed textbooks show just how deeply rooted the pattern of one-sided treatment of a topic is in the practice of writing textbooks and how much national interests and a collectivist approach with the aim of homogenizing one's own nation are represented in that act. After all, textbooks are created on the basis of a valid teaching program, i.e. curriculum, in which the goals and outcomes of teaching are clearly defined, and no matter how much politics and ideology is involved in the process itself, the results will remain at the level of the established state.
Education policies in the conducted research are monitored on the basis of practices and actions, and less through designed and carefully planned strategies. Only in the territory of the Republika Srpska two strategic documents in the field of education were adopted during the analysed period, which is the only thing possible considering its centralized arrangement. In the Federation of Bosnia and Herzegovina, due to administrative and ethno-national decentralization, there was no opportunity to adopt a similar strategy. Even the political parties that are in position in their programs do not have a clearly defined education policy, so it seems that decisions are made spontaneously. Nevertheless, on the basis of the practices implemented, a clear continuity can be seen in the goals of education policies, namely that, among other things, they serve to homogenize national groups, and with the help of history lessons in particular, they build a positive relationship towards their own nation and encourage differentiation and hostility towards others
The comparison of social identities at two cemeteries of military and civil Croatia in the 17th and 18th centuries
No full textGrobovi 17. i 18. stoljeća na dva lokaliteta, crkvi sv. Martina na Prozorju i crkvi sv. Nikole biskupa u Žumberku čine srž ovog rada. Riječ je o dva prilično različita groblja u dvije različite upravne jedinice. Prozorje je u 17. i 18. stoljeću bili dijelom civilne, a Žumberak vojne Hrvatske. U prvoj polovici 16. stoljeća, na demografski opustjelom Žumberačkom gorju naseljeni su prebjezi s teritorija pod kontrolom Osmanlija, mahom kršćani istočnog obreda. Prema povijesnim izvorima, do izgradnje prvih grkokatoličkih crkava u prvoj polovici 17. stoljeća prebjezi su za svoje potrebe koristili rimokatoličke crkve te se pretpostavlja da su se oko crkve sv. Nikole biskupa pokapali i rimokatolici i grkokatolici. S druge strane, na Prozorju su se pokapali isključivo rimokatolici. Otegotna okolnost pri uspoređivanju ova dva groblja je ta što je na Prozorju istražena crkvena unutrašnjost, bočne kapele i sakristije te vrlo mala površina oko same crkve na kojoj nije pronađen niti jedan grob 17. ili 18. stoljeća. Nasuprot tome, na žumberačkom groblju istražen je velik dio crkvenog dvorišta, a u unutrašnjosti crkve samo kripta. Kako bi se što uspješnije odredili socijalni identiteti na oba groblja, napravljen je detaljan katalog grobova te je provedena analiza svih relevantnih arheoloških podataka: položaj groba u odnosu na crkvu i njegova orijentacija, način pokopa – u lijesu, platnu, grobnim konstrukcijama i sl. – te prisutnost nalaza u grobovima, njihova vrsta, kvaliteta i kvantiteta. Kao dodatnu pomoć pri identifikaciji nekih nalaza poslužili su ondašnji vizualni izvori, a radi dobivanja cjelokupne slike o pokopanima, u interpretaciju su uključeni i rezultati antropoloških analiza, uključujući i patologije. Dva groblja su međusobno uspoređivana po navedenim parametrima, a potom i s usporednim istovremenim europskim lokalitetima Srednje Europe, većinom s područja Habsburške Monarhije. Na Prozorju su na taj način identificirana dva svećenička groba te nekoliko grobova ekonomski moćnijih pojedinaca, od kojih za jednog temeljem povijesnih izvora možemo zaključiti da je bio plemić. S druge strane, izuzev dviju pokojnica pokopanih u kripti koje su bile plemićkog staleža, osobe pokopane na žumberačkom groblju nisu se mogle detaljnije staleški i ekonomski stratificirati. Primijećeno je tek da su kod osoba pokopanih u ljesovima nalazi češći nego kod onih u kojima nema njihovih tragova, te da su grobovi u kojima su pronađene medaljice ili križevi s nekog udaljenijeg hodočašća u pravilu bogatiji nalazima u odnosu na ostale. Uz to u Žumberku su pronađeni neki nalazi kojih nema na Prozorju, prvenstveno broševi i željezne šivaće igle. Broševi su sastavni dio nošnje grkokatolkinja te su pomoću njih uspješno identificirani njihovi grobovi. Željezne šivaće igle, za koje se pretpostavlja da su služile privezivanju mrtvačkog platna, ne pronalaze se na drugim grobljima kontinentalne Hrvatske, već samo na dinarskom prostoru s kojega su, između ostalog, prebjezi i došli na Žumberačkog gorje te se s toga mogu smatrati utjecajem novopridošlog stanovništva. S druge strane, na Prozorju su gumbi najčešći nalaz, a u Žumberku su pronađeni u manje od 1 % grobova. U nekoliko muških grobova na Prozorju pronađeni su u tri niza na trupu, a, uz pomoć slikovnih portreta, interpretirani su dijelom dolmana, muške jakne s visokim ovratnikom i dugim rukavima, osnovnim komadom gospodskog odjela 18. stoljeća kojeg su u to vrijeme većinom nosili plemići.The core of this dissertation is made up of the study of the 17th and 18th-century graves of two sites, St. Martin at Prozorje and St. Nicholas the Bishop in Žumberak. These two cemeteries are marked by considerable differences and were located in two separate administrative units. In the 17th and 18th centuries, Prozorje was part of Civilian Croatia, while Žumberak was part of the Military Frontier. In the first half of the 16th century, the scarcely populated Žumberak Mountains were settled by refugees, mostly of the Eastern Rite Catholicism, arriving from the territory under Ottoman control. The historical sources reveal that until the first Greek Catholic churches were built in the first half of the 17th century, the refugees used Roman Catholic churches. It is assumed that both Roman Catholics and Greek Catholics were buried around St. Nicolas church in Žumberak. On the other hand, only Roman Catholics were buried at Prozorje. An aggravating circumstance, when it comes to the comparison of these two cemeteries, is that at Prozorje, the church interior, side-chapels, sacristies, and a very small area around the church itself were excavated, but not a single 17th or 18th-century grave was discovered in this particular area. Conversely, a large portion of the church courtyard was excavated in Žumberak, but of the church itself, only the crypt was investigated. With the aim of identifying social identities with as much success as possible at both of these cemeteries, a detailed catalogue of graves was created and an analysis of all relevant archaeological data was conducted: the positions of graves in relation to the church and its orientation, types of burials (coffin burials, shroud burials, burial chambers, etc.) and the presence of finds in graves, together with the type, quality, and quantity of these finds. Visual sources were used as an additional help with the identification of certain finds, while the results of anthropological analyses and pathologies provided a more complete image of the deceased individuals. These two cemeteries were mutually compared using the said parameters before also being compared with contemporaneous European sites of Central Europe, mostly the Habsburg Monarchy. Owing to this, two priest graves were identified at Prozorje, together with several graves of affluent individuals, one of which, thanks to written sources, can be identified as a nobleman. On the other hand, the persons buried at the Žumberak cemetery could not be stratified according to their social class or economic power, except for two noble women buried in the crypt. It was observed that finds were more common in coffin burials compared to the ones without the coffins and that graves that included medals or crosses from a distant pilgrim site typically included more finds than others. Moreover, Žumberak yielded some finds Prozorje did not, primarily brooches and iron sewing needles. Brooches are essential part of the Greek Catholic women’s costume. Therefore, graves in which they were found are interpreted as those belonging to the Greek Catholics. Iron sewing needles are assumed to have been used for securing the shroud which have not been discovered at any other cemetery in continental Croatia. They, however, have been found at the cemeteries of the Dinara area, from which some of the refugees settled in Žumberak originated. Usage of the iron sewing needles in graves can therefore be interpreted as influence of newly settled community. Conversely, the most common finds at Prozorje are buttons which were found in less than one percent of graves from Žumberak. Several male graves at Prozorje yielded three sequences of buttons on their torso. Using portraits from this period, these were interpreted as parts of a dolman, men’s long-sleeved jacket with high collar, a basic 18th-century gentleman’s garment at the time mostly worn by noblemen
Heritage and the formation of place identity – the city of Vukovar as a case study
No full textOvaj rad istražuje ulogu baštine u oblikovanju identiteta mjesta na primjeru grada Vukovara, s posebnim naglaskom na kolektivno pamćenje i kulturni identitet. Baština se ne sastoji samo od materijalnih artefakata, nego se stvara i održava kroz kulturne aktivnosti i procese koji uključuju prijenos društvenih značenja i vrijednosti. U kontekstu Vukovara, grada koji je pretrpio velike gubitke tijekom Domovinskog rata, baština rata igra ključnu ulogu u formiranju identiteta zajednice. U prvom dijelu radu predstavljaju se teorijski okviri kolektivnog pamćenja, identiteta, mračnog i ratnog turizma nakon čega se u fokus postavljaju različite manifestacije baštine, muzeji, spomenici i komemoracije. U drugom dijelu rada, prikazuje se anketno istraživanje među stanovnicima Vukovara s ciljem utvrđivanja njihovih stavova o važnosti i ulozi baštine, kao i baštine rata u oblikovanju identiteta. Upitnik je ispunilo 282 ispitanika, a rezultati su pokazali kako različiti osobni faktori, poput dobi, obrazovanja i nacionalnosti, utječu na percepciju baštine i navike posjeta baštinskim institucijama. Zaključno, baština igra ključnu ulogu u oblikovanju identiteta Vukovaraca te treba istaknuti važnost pažljivog pristupa interpretaciji baštine rata kako bi se osigurao suživot i poštovanje neovisno o različitim mišljenjima, iskustvima i perspektivama građana.This paper explores the role of heritage in shaping identity, using the example of the city of Vukovar, with a special focus on collective memory and cultural identity. Heritage is not solely comprised of tangible artifacts; it is created and maintained through cultural activities and processes that include the transmission of social meanings and values. In the context of Vukovar, a city that suffered significant losses during the Homeland War, war heritage plays a crucial role in forming the community's identity. The first part of the paper addresses the theoretical frameworks of collective memory and identity, and describes different heritage events, museums, monuments, and commemorations. The second part of the paper contains a research conducted through a survey among the residents of Vukovar to determine their views on the importance and role of heritage, including war heritage, in shaping identity. The questionnaire was completed by 282 respondents, and the results showed that various personal factors, such as age, education, and nationality, influence the perception of heritage. In conclusion, heritage plays a key role in shaping the identity of the people of Vukovar. It is important to emphasize the necessity of a careful approach to interpreting war heritage to ensure coexistence and respect, regardless of differing opinions, experiences, and perspectives among the citizens