Open Repository of the University of Zagreb Faculty of Humanities and Social Sciences
Not a member yet
8460 research outputs found
Sort by
Application of Artificial Intelligence in digital educational tools
No full textU ovom je radu prikazan kratki razvoj umjetne inteligencije u obrazovanju. Umjetna inteligencija počinje se razvijati sredinom 20. stoljeća. Prema Google Trendsu, svoju popularnost povećava znatno više 2022. godine. Njezino korištenje uporabljuje se u mnogim područjima, pa je tako vrlo popularna i u odgojno-obrazovnom području. Umjetnu inteligenciju koriste i učitelji, ali i učenici. U radu su objašnjene ključne riječi umjetne inteligencije, e-učenja te aplikacije web2.0. Prikazan je kratki pregled e-učenja te kako ono utječe na digitalne kompetencije učitelja i nastavnika nastavnog predmeta informatike. Razvojem iz web1.0 u
web2.0, korisnik prestaje biti pasivna osoba, te počinje biti sam kreator što omogućava veću kreativnost i korištenje web alata i aplikacija kod učenja i poučavanja. Daljnjim napretkom web-a, umjetna je inteligencija danas sve više prisutna unutar različitih digitalnih obrazovnih alata. U radu je provedeno anketno istraživanje učitelja i nastavnika informatike o učestalosti korištenja umjetne inteligencije u obrazovne svrhe unutar digitalnih obrazovnih alata (Canva, Quizziz, Padlet i Kahoot!). Anketno istraživanje usmjerilo se i na ispitivanje o svijesti korištenja umjetne inteligencije, podržavanju njezine korisnosti u te o njihovom mišljenju o
korištenju umjetne inteligencije kao pomoć u učenju I poučavanju. Pitanja su usmjerena na to kako umjetna inteligencija poboljšava funkcionalnost i učinkovitost napravljenih digitalnih obrazovnih sadržaja.This paperwork presents a brief overview of the development of artificial intelligence (AI) in education. The development of AI began in the mid-20th century, but according to Google Trends, its popularity significantly increased in 2022. AI is used across many fields, and has become particularly prominent in the educational sector. Both teachers and students
utilize artificial intelligence in their work. The paper explains key terms related to artificial intelligence, e-learning, and Web 2.0 applications. It includes a concise overview of e-learning and examines its impact on the digital competencies of computer science teachers and subject educators. With the transition from Web 1.0 to Web 2.0, the user is no longer a passive recipient, but becomes an active content creator, which enables greater creativity and encourages the use of web tools and applications in teaching and learning. As web technologies continue to advance, artificial intelligence is becoming increasingly integrated into various digital educational tools. This paper presents a survey conducted among computer science teachers to examine the frequency of AI usage for educational purposes within digital tools such as Canva, Quizziz, Padlet, Miro, and Kahoot!. The survey also focused on examining awareness of AI usage, the extent to which its usefulness is supported, and participants’ opinions on using AI as a support tool in teaching and learning. The questions were aimed at exploring how artificial intelligence enhances the functionality and efficiency of created digital educational content
Principles of underlying structural modelling of bibliographic data in Bosnian and Herzegovinian vakufnamas
No full textU Gazi Husrev-begovoj biblioteci u Sarajevu se čuva oko 1600 vakufnama (zakladnica, zavještajnica, zadužbinskih povelja) iz raznih dijelova Bosne i Hercegovine, koje se odnose na period od 16. do 18. vijeka, u kojima se bilježi porijeklo i namjena zadužbina, te koje stoga, predstavljaju primarni izvor za izučavanje povijesti nastanka pojedinih lokaliteta i velikog broja nepokretnih kulturnih dobara. Zbog heterogenosti praksi obrade građe u bibliotekama i srodnim zajednicama, kao i zbog specifičnosti obrade pojedinih vrsta građe, unatoč razvoju mnogobrojnih protokola za razmjenu podataka, evidentna je nedovoljna saradnja među zajednicama koje se bave organizacijom bibliografskih objekata zastupljenih bibliografskim zapisima. S ciljem iskorištavanja znanja sadržanog u vakufnamama i njihove promocije na globalnoj mreži, potrebno je modificirati reprezentaciju toga znanja u računalnom okruženju na semantički razumljiv način. U ovom doktorskom radu je istražena mogućnost uspostavljanja načela strukturnoga modeliranja bibliografskih podataka za bosanskohercegovačke vakufname radi poboljšanja organizacije i prikaza informacija o vakufnamama u bibliotečkim katalozima i bibliografskim informacijskim sistemima, unutar okvira za prezentaciju pametnih podataka, koji postaje paradigma budućeg načina oblikovanja Weba u semantički web. Stoga su vrednovane dvije različite metodologije konceptualizacije bibliografskog univerzuma za upravljanje informacijama o kulturnoj baštini - metodologija entiteta i veza (FRBR - LRM), kao i interpretacija modela iz FR-porodice primjenom objektno-orijentirane metodologije (FRBRoo). U tu svrhu je bilo potrebno utvrditi koja su svojstva vakufnama važna za bibliografsku organizaciju, iz aspekta primarnih korisnika ovih dokumenata, što je istraženo prikupljanjem i evaluacijom podataka, tehnikama anketnog upitnika, pojmovnog mapiranja i sortiranja kartica, koje su dopunjene polustrukturiranim intervjuima. Ovaj doktorski rad, doprinos je razvoju i implementaciji okvira za strukturno modeliranje bibliografskih podataka i njihovoj integraciji u semantički web, budući da sudjelovanje u semantičkom webu postaje dijelom odgovornosti za bibliotečke zajednice. Uspostavljanje odnosa između IFLA-inih konceptualnih modela i njihove implementacije, pridonijeti će prijeporima očuvanja i diseminacije informacija sadržanih u vakufnamama.The Gazi Husrev-beg Library in Sarajevo holds about 1600 vakufnamas (endowments, endowment charters) from various parts of Bosnia and Herzegovina, which date from 16th to 18th century, that are documents concerning the foundation and purpose of endowments, and which, therefore, represent primary sources for studying the history of the origin of individual localities and a large number of immovable cultural objects. As a result of heterogeneus collection management practices in libraries and other related communities, as well as due to the specifics of the processing of certain types of materials, insufficient cooperation between communities dealing with the organization of bibliographic objects represented by bibliographic records is evident. In order to exploit the knowledge contained in vakufnamas and promote them on the global network, it is necessary to modify the representation of that knowledge in a semantically understandable way. In this doctoral thesis, within the smart data presentation framework, which is becoming the paradigm of the future way of shaping the Web into the Semantic Web and with the aim to improve the organization and presentation of information on endowments in library catalogs and bibliographic information systems, the possibility of establishing underlying principles of structural modeling of bibliographic data for Bosnian and Herzegovinian vakufnamas was investigated. Accordingly, it is proposed to evaluate two different methodologies of conceptualisation of the bibliographic universe for cultural information management, entity-relationship methodologie (FRBR - LRM) and the interpretation of the FR family of models using object-oriented methodologie (FRBRoo). For this purpose, it was necessary to determine which properties of the endowments are important for the bibliographic organization, from the perspective of primary users of these documents, therefore different data collection tehniques were used - questionnaire, conceptual mapping and card sorting techniques, which were supplemented by semi-structured interviews. This doctoral thesis is a contribution to the development and implementation of a framework for structural modeling of bibliographic data and their integration into the Semantic Web, as participation in the Semantic Web becomes part of the responsibility for library communities. Establishing a relationship between IFLA's conceptual models and their implementation will contribute to the efforts of preservation and dissemination of information contained in endowments. The doctoral thesis on 217 numbered pages contains the text in 8 chapters, which are preceded by the Introduction. The chapters are titled as follows: Explanation, Research Methodology, Definition, Characteristics and Significance of Vakufnamas in Bosnia and Herzegovina, Organization of Bibliographic Information in the Semantic Web, Conceptual models of the Bibliographic Universe, Research on the Bibliographic Structure for Bosnian and Herzegovinian Vakufnamas, Structural Modeling of Bibliographic Data for Bosnian and Herzegovinian Vakufnamas and Concluding Considerations, followed by a list of literature, appendices, list of tables, list of pictures, biography and list of publicly published works of the author. The thesis contains 28 figures and 4 tables, as well as a list of cited literature. The Introduction summarizes the changes that the process of bibliographic organization of information goes through in the sense of a new conceptual view of the universe of recorded knowledge, alongside which the development of semantic web standards runs parallel, emphasizing the relevance of these standards for bibliographic data. In the first chapter entitled Explanation, a new conceptual view of the bibliographic universe presented in IFLA's FR - family of models is presented, after which the shortcomings of the traditional approach are pointed out, emphasizing the state of practice of manuscript materials. After that, the fundamental characteristics of endowments are presented, where the features that are interesting from the aspect of bibliographic organization are emphasized. The second chapter is titled Research Methodology and provides a description of the theoretical framework, goals and research questions, followed by a description of the plan, phases, methods, materials and subjects of the research. In addition to the above, the chapter provides an overview of earlier research. The third chapter, entitled Definition, Characteristics and Significance of Vakufnamas in Bosnia and Herzegovina, considers vakufnamas (endowment charters) from the aspect of social significance for Bosnia and Herzegovina, points to the current cataloging practice related to these archival documents kept in the Gazi Husrev-bey library in Sarajevo. After that, an overview of the practice of cataloging manuscript material in libraries is given, in a concise form, with a special emphasis on the problems of access to primary sources for research, including the ways of access to endowments. The fourth chapter, entitled Organization of Bibliographic Information in the Semantic Web, first states the characteristics of the semantic web and the differences in the infrastructure and approach to data analysis compared to the traditional web and relational databases, including the definition and properties of linked data. After that, the transition process of IFLA's standards into the environment of linked data is presented, where the position of ISBD and UNIMARC within the contemporary global bibliographic ecosystem is particularly indicated. The chapter then provides an overview of the new cataloging codes aligned with conceptual models and the characteristics of authority control within the new bibliographic environment. The fifth chapter is entitled Conceptual Models of the Bibliographic Universe and presents an overview of the evolution of the concept of universal bibliographic control until the publication of the consolidated and unified IFLA LRM model, within the framework of the existing metadata standards of the LAM community and their principles. In this chapter, an exhaustive presentation of the IFLA LRM model, as a model of entities and relations, is offered, where at the same time the specificities of the corpus of vakufnamas are indicated in the context of nonbibliographic data on endowment buildings. After that, the relationship between the IFLA LRM and the FRBRoo model is pointed out and an object-oriented version of the model from the FR-family is presented, which enables event-based data modeling and which is the result of a dialogue between the museum and library community, initiated by the interoperability of existing conceptual models. The sixth chapter is entitled Research on the Bibliographic Structure for Bosnian and Herzegovinian Vakufnamas and provides an overview of survey questionnaire techniques, conceptual mapping and card sorting, and complementary semi-structured interviews that were conducted for the purposes of data collection. The process of selecting participants and the way of conducting the research is presented in detail, along with a review of the literature related to the current research practices of the new conceptual framework. The question of organization of the phenomenon of vakufnamas as super-works is presented as a requirement for the organisation of vakufnamas written for endowment buildings. In the focus of the survey research and the card sorting task, the characteristics of user expectations regarding the bibliographic organization of these documents, and the specifics of the mental models, were considered for comparison with the entities and relationships declared in the IFLA LRM and FRBRoo models. The seventh chapter, entitled Structural Modeling of Bibliographic Data for Bosnian and Herzegovinian Vakufnamas, contains the results of the conducted research, the analysis of the data collected through the research, and a discussion of issues that have been identified as relevant in the context of the universe of interest, as a result of the literature review, preliminary discussions with the managers of the document collections and their users, and the conducted research. The question of the role of non-bibliographic data in the context of vakufnamas was primarily considered through survey research. Through conceptual mapping, it was established that the participants express a conceptualization of the bibliographic universe which, due to the certain level of abstraction it includes, corresponds to the multi-entity models. The research demonstrates how participants, for the purposes of expressing complex relations of derivation, within the multi-entity model they prefer, identify the characteristics of the relevant universe of discourse. Sorting the cards made it possible to compare the users' mental models with the conceptualization offered in the IFLA LRM. Furthermore, an account of how to model the historical context for the specific collection of sidjils of vakufnamas, that has been identified as significant for users, is presented, along with the issue of modeling manuscripts and works of art in the IFLA LRM model. In the part of the chapter related to the FRBRoo model, the modeling of vakufnamas as manuscripts is presented and the issue of modeling intellectual processes is discussed. In the context of endowments for building objects, the possibilities of the FRBRoo model for recording intellectual processes within the universe of endowments, in terms of performance and complex work, are pointed out. The final chapter, Concluding Considerations, summarizes the conclusions of each chapter with a discussion of key results. It is determined that the IFLA LRM and FRBRoo models represent a suitable framework for establishing the principles of structural modeling of bibliographic data for the selected corpus of vakufnama
Comparative Analysis of Abstractive Text Summarizers
No full textWith the increasing volume of digital content, automatic text summarization has become an essential tool for condensing large amounts of information into concise, coherent summaries. This thesis explores the field of abstractive text summarization, focusing on the evaluation of four state-of-the-art large language models (LLMs): ChatGPT 3.5, Gemini 1.0 Pro, Command R+, and Claude 3 Sonnet. The study evaluates these models across various text types, including academic texts, news articles, and movie reviews, using QAGS and QuestEval metrics to assess their ability to generate relevant and informative summaries.
QAGS assesses precision by focusing on factual consistency, while QuestEval evaluates precision and recall, focusing on both factual consistency and relevance of the generated summary. Using these question-answering-based evaluation metrics which do not rely on reference summaries, this study provides a more task-specific approach to evaluating summarization quality, focusing on the generation of question-answer pairs.
The study employs two-way ANOVA to examine the main effects of model type and text type, as well as their interaction, on summarization performance. The findings highlight significant performance variations among the models, emphasizing that the choice of summarization model can substantially impact the quality of outputs. The study also explores the consistency of model performance across different text types and provides insights into the strengths and limitations of using question-answering based evaluation metrics for abstractive summarization.
This work contributes to the field of computational linguistics by offering a detailed analysis of model capabilities and suggesting practical applications for selecting suitable summarization tools. It also points to potential areas for future research, including the development of more nuanced evaluation methods to better capture summary quality
The Lado Ensemble of folk dances and songs of Croatia as a part of the national and cultural identity
No full textAnsambl narodnih plesova i pjesama Hrvatske Lado je profesionalni folklorni ansambl osnovan 1949. godine sa zadaćom prikupljanja, umjetničke obrade i scenskog prikazivanja bogate hrvatske plesne i glazbene tradicije na visokoj izvedbenoj razini u zemlji i svijetu. Cilj ovog rada jest da se spoznajama i metodama humanističkih i društvenih disciplina kritički analizira i interpretira umjetničko djelovanje, značenje i uloga Ansambla Lado te da se potvrdi postavka da se identitet Ansambla oblikovao i mijenjao pod utjecajem umjetničkih politika, razvoja izvedbenih mogućnosti te društveno-političkih okolnosti u kojima je osnovan i u kojima je djelovao te da je od početka imao predznak nacionalnoga. Nastavljajući se na temeljnu postavku, razmotrit će se i mogućnost percipiranja Lada kao hrvatskoga kulturnog brenda. Zvonimir Ljevaković, jedan od idejnih utemeljitelja i dugogodišnji umjetnički ravnatelj Lada, od 1949. do 1974., dao je osnovnu odrednicu umjetničkog rada Ansambla koja se zasniva na težnji da se u izvedbi bude što bliže autentičnim tradicijskim oblicima istodobno poštujući specifičnosti lokalnoga stila. Nadalje, Lado je plesni folklorni ansambl koji se sustavno razvijao u vrhunski folklorni zbor, osposobljen za samostalne vokalne i vokalnoinstrumentalne koncerte, što je rijetkost u usporedbi sa sličnim ansamblima u svijetu. U Ansamblu kao samostalna izvedbena tijela djeluju Ladarice, muška vokalna skupina Vokalisti Lada i Orkestar Lada koji su svojim umjetničkim djelovanjem postali dio Ladova identiteta. Provedeno istraživanje Ladovih gostovanja u inozemstvu te analiza osvrta domaće i inozemne kritike potvrdilo je da je hrvatski profesionalni folklorni ansambl uvijek nailazio na oduševljenje široke publike i stručne kritike koja ga od samih početaka prepoznaje kao čuvara narodnog blaga i kulturnog ambasadora u svijetu. Zaključno može se reći da se Lado u više od sedam desetljeća bogatog, umjetničkog djelovanja izgradio u hrvatski kulturni brend koji domaća publika i mediji prepoznaju kao simbol nacionalnih vrijednosti, čuvara i promicatelja hrvatske tradicije u domovini i u svijetu.INTRODUCTION: Traditional culture as part of cultural heritage is an indispensable part of national identity. Previous research has shown that the conceptions of public presentation of folklore changed in accordance with the political and socio-historical context. From the beginning, under the influence of the Peasant Concord (educational organization of the Croatian Peasant Party), they were conceived as a way of shaping and preserving national consciousness. There are many written works on amateur folkloric activity, but scientific reviews of the work of the national professional Ensemble of Folk Dances and Songs of Croatia Lado are few so far (Zebec 2008, Vitez 2009, Sremac 2010, Niemčić 2014; 2016; 2024, Ćaleta 2024). The aim of this work is to critically analyze and interpret the artistic activity, meaning and role of the Lado Ensemble using the knowledge and methods of the humanities and social disciplines. As well, to confirm the assumption that Lado's own identity, being cultural and national, which was formed in the 75 years of its artistic activity, and its uniqueness compared to other national ensembles. The starting point is that the identity of the Lado Ensemble changed under the influence of artistic policies, the development of performance possibilities, and the socio-political circumstances in which it was founded and in which it has operated since its foundation. Since 1950, it has been obliged to perform the so-called Yugoslav program, and with the creation of an independent Croatian state, it now performs Croatian programs. Furthermore, reviews of the performances of the Lado Ensemble in the country and abroad are critically questioned, and the extent to which Lado managed to achieve a combination of traditional heritage and the contemporary life of stage art is analyzed: on the one hand, the performance aims to preserve traditional forms as much as possible with high artistic achievements, and on the other hand, to be market attractive. It also wants to show that the Lado Ensemble, with its recognizable artistic personality and consciously created identity, which is part of the national and cultural, and significant international activity, has the characteristics of a cultural brand.
RESEARCH STRATEGY AND METHODOLOGY: Following contemporary ethnographic practice, with a general tendency to create a specific multi-methodological strategy whose purpose is to understand the phenomenon in question (Relja 2009: 121), different research techniques and methods were used in the preparation of the work. During the four phases of the work: collection of material, analysis (qualitative, quantitative, and combined), interpretation and synthesis, analytical, synthetic, comparative, and descriptive methods were used. The text of the work was built by modeling contrasting views, by letting the author's voices of narrators into the scientific text (Čapo Žmegač, Gulin Zrnić and Šantek 2006). In terms of methodology, the work is based on conducted interviews and a survey, as well as on the analysis of the theoretical material of the humanities and social sciences important for the topic under discussion. Due to the lack of written sources about the Lado Ensemble, an extensive and demanding archival research was carried out, which used newspaper articles, concert programs and promotional materials from private archives, statistics of Lado's performances with performed programs, as well as data obtained from interviews with the artists of the Ensemble.
HISTORICAL DEVELOPMENT AND ARTISTIC POLICIES OF LADA: The Lado Ensemble was founded on November 11, 1949, by a decree of the Government of the People's Republic of Croatia with the task of presenting artistically processed folklore treasures and helping folklore groups in their artistic development. Zvonimir Ljevaković, the founder and long-time artistic director of the Lado Ensemble, from 1949 to 1974, gave the basic conception of the Ensemble's artistic work, which is based on the aspiration to be as close as possible to authentic traditional forms in performance while respecting the specificities of the local style. In order to understand Ljevaković's artistic conception, it is necessary to have an insight into the development of the stage presentation of folklore in Croatia, which was initially used for the purpose of shaping and awakening national consciousness (Sremac 2010). Namely, the Croatian Peasant Party and its educational organization Seljačka sloga, with a well-thought-out policy and organization of the festival, use folklore to confirm and emphasize national identity and develop national consciousness in a large part of the illiterate Croatian people. Sremac (2010) describes how the initiative for the establishment of national professional folklore ensembles came from the then Soviet Union, where Igor Mojsejev founded the famous ballet ensemble in 1937. This famous ballet dancer and choreographer is inspired by folklore, but in addition to ballet stage aesthetics, he puts skill and attractiveness in the foreground with elements of acrobatics. This way of presenting folklore was accepted in Eastern European countries, and ensembles from the eastern part of the former Yugoslavia were also prone to it. The national professional ensembles of the former Yugoslavia were created from already established amateur folklore groups, such as the Croatian ensemble was created from the folklore section of the Youth Cultural and Artistic Society (OKUD) "Joža Vlahović". In the first years of activity, along with Ljevaković, Ana Maletić, a dance pedagogue of contemporary dance, was appointed as the artistic director. However, she has a different idea of stage presentation of folklore, with which, due to stylization, she departs more from traditional templates, and due to the difference and disagreement in approach, she leaves the Ensemble (Đurinović 2008: 55-62). The famous composer of choral music Emil Cossetto also worked in the Ensemble, who with his arrangements and interpretations from the Kajkavian regions greatly contributed to the recognition of the Lado Ensemble's vocal expression. Ljevaković shapes his vast knowledge based on many years of field research of Croatian tradition, with exceptional skill, sensibility, and an artistic gift, into a stage presentation of folklore presented in the performances of Lada. Ensemble Lado is Ljevaković's vision of how the values of the Croatian tradition, "in which the spirit of the Croatian people is reflected", should be presented on stage, and therefore preserved from oblivion. Božo Potočnik (2009: 130) thus writes that Zvonimir Ljevaković is a folklore expert who decided to artistically convey the life force of the Croatian people on stage, using the language of folklore, music, and dance. Ljevaković's choreographic opus consists of about thirty choreographies (Ladarke, Prigorski dances, Posavski dances, Vrličko kolo, Krčki tanac, Dubrovnik kolo poskočica - Linđo, Drmeš etc.) and despite the changes in the artistic policies of his successors and the expansion of the program with new choreographic visions, forms the basis of the Lado Ensemble's artistic program. After more than two decades of artistic leadership of Lado, Ljevaković departs, but his artistic vision of performing folklore on stage has remained to this day. After Ljevaković, Ivan Ivančan (1974 – 1980) came to lead the Ensemble, who is also important for Lado as a choreographer (he is the author of about twenty choreographies in Lado's repertoire). Aware of Ljevaković's importance, Ivančan designs concerts whose backbone is Ljevaković's choreography, but Lada's dance repertoire begins to expand with new choreographies, he is the author of some of them, and for some he engages other folklore creators (Branko Šegović, Savo Popović, Mirko Ramovš, Stanimir Višinski etc.). It certainly brings variety to Lado’s program and thus opens a new page of Lado’s artistic activity. He also creates thematic concerts, which were a great step forward for those times, when the concept of dance folklore performances was based on the exchange of choreographies from different regions. He invites the distinguished pedagogue and choirmaster Dinko Fio to work daily on vocal technique and expand the Ensemble's musical repertoire. Also, an important point should be noted is his role in educational development. For example, he designes many educational concerts for school-age children. After the departure of Ivančan in 1980, Lado was without an artistic director for three years, and during that period the dance leaders, Ivan Šulina, Stjepan Poček and Ivica Dabac, work with the Ensemble and shape concert programs according to the experience and performance capabilities of Lado. Considering the activities of Lado during the time of Hanibal Dundović (1983 – 1991), we can say that there was a lack of great strides and folklore achievements in Lado, however, it was a period of stability. In his tenure, most of the new choreographies were signed by folklore creators: Vido Bagur, Karlo Mikačić, Dobrivoj Putnik, Branko Šegović, Vlado Šoć, Ivica Ivanković etc. It should be mentioned that Dundović created three choreographies for Lado. Also, Dundović accepted the initiatives of music directors Tomislav Uhlik (1983 – 1985) and Bojan Pogrmilović (1985 – 1998) for the increased activity of Lado as a concert ensemble, which improved the Ensemble's vocal potential. Analyzing the activities of Lado during the time of Ivančan Jr. (1992 - 2016), it can be said that it was a fruitful creative period. Lado’s repertoire has been enriched with about 40 new choreographies in the spirit of the "Zagreb school of folklore" (by Dr. Ivan Ivančan, Branko Šegović, Vidoslav Bagur, Miroslav Šilić, Ajša Ruždija, Milan and Goran Oreb, Andrija Ivančan, Vlado Šoć, Tomislav Miličević, Ivica Ivanković, Mojmir Golemac, Krunoslav Šokac, Valentina Šepak etc. Ivančan Jr. is the author of the choreography of the songs and dances of Međimurje Med Murom i Dravom. Furthermore, Ivančan Jr. designed and very successfully directed many thematic concerts and was also open to different musical and dance expressions inspired by folklore to attract a younger, non-folkloric audience (the first was the Lado Electro album by Hrvoje Crnić Boxer and Boris Harfman). The Ensemble's musical potential developed to unimagined heights. Until then, Lado, was known for singing related to the musical traditions of central and northern Croatia, and had mastered the stylistic features of the southern Croatian regions (thanks to the collaboration with Joško Ćaleta). Within Lado, the Orchestra, female vocal ensemble Ladrice and male vocal ensemble Lado’s Vocalists operate as independent performing bodies. The third point being that there is a collaboration between Lado and numerous collaborators, leading Croatian composers, arrangers, and ethnomusicologists, systematically researches and presents folk sacred traditions of the Lenten and Christmas cycle and Marian songs. Lado’s sacred repertoire was permanently enriched by: Božo Potočnik, Tomislav Uhlik, Marijan Makar, Joško Ćaleta, Dražen Kurilovčan, Ljubo Stipišić Delmata, Ivica Ivanković, Mihael Ferić, Branko Ivanković, Branko Starc. This laid the foundations of Lado's musical activity in the field of sacred music, which contributed to Lado growing into a top folk choir with high performance capabilities, which for the first time received awards usually reserved only for classical music performers. Ivančan Jr.’s role as artistic director during the four-year period (2016-2020), was followed by Andrija Ivančan, and Krunoslav Šokac. Given the brevity of their tenure and activity, during which there were no changes in Lado’s identity, we didn’t particularly look at the features of their artistic policies.
LADO AS A NATIONAL AND CULTURAL BRAND AND ITS IDENTITIES: The identity of the Lado Ensemble was shaped and changed under the influence of artistic policies, the development of performance possibilities, and the socio-political circumstances in which it was founded and in which it has operated since its foundation. From 1950 to 1989, depending on the politics of the time, it was obliged to perform the so-called the Yugoslav program, and since the creation of the independent Croatian state in 1991, only the Croatian program has been carried out (except for special thematic projects). Furthermore, research into the artistic activities of Lado confirmed that, regardless of the socio-political circumstances in which the Ensemble operated, the artistic leadership and members expressed a strong sense of national identity. Lado has always been recognized as an artistic ensemble that primarily cherishes the values of Croatian dance and music tradition, and thanks to its founder and first artistic director Zvonimir Ljevaković, it strives to be as close as possible to traditional forms. Furthermore, by analyzing the work, we confirmed that Ljevaković's artistic expression of high aesthetics with respect for local stylistic features is what makes Lado recognizable, and that Ljevaković's refinement and subtlety in the artistic representation of folklore is what separates Lado from other folklore ensembles. Ljevaković's conception continued to be applied and developed by his successors, and it has remained until today. At the same time, the Ensemble's performance abilities, especially musical ones, have developed. The analysis of artistic policy confirmed that Lado’s identity is cultural and national, which was formed during more than seven decades of artistic activity as an ensemble identity, unique in comparison to other ensembles. Identities are the starting point for showing the value of a brand, including Lado, and include all those features that show that, compared to other folklore ensembles, it is Lado that best fulfills the needs, expectations and wishes of the audience and that it means the greatest value to them. The brand's values are the brand's identities, and Lado's identities are: Lado - the "guardian" of the Croatian dance and music tradition; "2 in 1" - Lado is a superb dance folklore ensemble and a great folklore choir; Lado – "ambassador" of Croatia in the world; Lado – "traveling museum"; Lado – center for education on national intangible heritage; Lado – a successful symbiosis of tradition and modernity; Lado trademark – Posavina wheel. Independent performing bodies in the Ensemble, the female vocal ensemble Ladrice, the male vocal ensemble Lado’s Vocalists and the Orchestra, act as sub-brands, which have become part of Lado's identity. Today's Ladarice consists of the Lado female choir, which continued the work of the legendary nonet Ladarice, although with a completely different sound and program. Namely, Ladarice were not officially part of the Lado Ensemble until 2008, but with their artistic activity under the leadership of Božo Potočnik, they significantly influenced the popularity of traditional music and the popularity of Lado among a wide audience. The performing body of Lado is also the Orchestra, which consists of musicians who are mostly multi-instrumentalists and perform independent concerts, as well as Lado Vocalists who cherish the musical expression of Dalmatia.
COMPARISON OF CROATIAN FOLKLORE ENSEMBLE LADO WITH RUSSIAN ENSEMBLE IGOR MOJSEJEV AND IRISH RIVERDANCE ENSEMBLE: Comparing the performance of Lado with the spectacular performances of other well-known professional ensembles, we question whether Lado as a folklore ensemble, whose artistic expression is far from what is called a spectacle, can gain a greater presence on the world cultural market. We received a positive response from reviews by well-known American dance critics Heather Desaulniers and Anthony Shay. Desaulniers (2009) believes that spectacles like Riverdance and Lord of the Dance attract the audience like some television reality shows of dance competitions and expresses the opinion that attracting a mass audience is a success, but that these excessively produced performances leave a feeling of fakeness. He emphasizes that their technical excellence was indisputable and absolute, but what he remembers most about that evening was the artistic emptiness on stage. In the following, Heather Desaulniers positively comments on the performance of the Croatian ensemble Lado: "This past weekend, Music Center Strathmore proved that an evening of ethnic dance can be both technically great and deeply emotional. They hosted Lado, the Ensemble of Folk Dances and Songs of Croatia, which was generous and graceful in its performance and in which it honestly shared its customs and folk dances. Anthony Shay believes that Lado is a symbol of Croatian identity and says that Lado has an advantage over other national ensembles because it has retained the traditional values. "And the source has always been in the field, in the countryside. Ljevaković has always been my biggest role model. He respected the original folk dance, costumes, musical accompaniment much more than other choreographers. He managed to make art without being spectacular, and Lado respects that to this day" (Shay according to Derk 2008: 39).
LADO – AMBASSADOR OF CROATIAN CULTURE IN THE WORLD: From an exhaustive analysis of Lado’s foreign performances, the Croatian professional folklore ensemble performed on the world's most famous stages and that it always received the undisputed and indisputable enthusiasm of a wide audience and expert critics who recognized it as an ambassador of national culture from the very beginning. Considering the presented reviews, it is easy to read that what Lado conquers with, in addition to exceptional dancing and singing qualities and the perfect technique and musical skill of the Orchestra, is a display of folklore art that provides an experience of sincerity and conquers with purity of style and refinement. The comments and criticisms of the domestic and foreign press confirm that Lado is a top performer who does not resort to stylization and acrobatics to impress the audience, but, moreover, tries to present all the splendor, wealth, and exceptional diversity of the Croatian tradition, from folk costumes, dances, songs to customs, with the desire for the audience to feel the spirit of the Croatian people. Expert criticism recognizes the joy and emotion that Lado’s artists give to the audience. In addition to valuable recognitions, Lado was also awarded the INA award for the promotion of Croatian culture in the world for 2006, and the jury wrote in its explanation: "We can rightly say that Lado has been our ambassador in the world throughout its existence, promoting our cultural heritage at the highest level."
PUBLIC PERCEPTION OF THE LADO ENSEMBLE - SURVEY RESULTS: In order to examine the views more closely and empirically on the importance of the Lado Ensemble of Folk Dances and Songs of Croatia for national and cultural identity, a survey was conducted in 2002 using a Google form. In the descriptive part of the questionnaire, demographic characteristics such as gender, age, level of education, habits of attending Lado's concerts etc. were examined, while in the value section, the views on folklore in general, about the Lado Ensemble were examined (questions: "Do you consider yourself a Lado lover?", "Do you consider the Lado Ensemble important for the preservation of Croatian traditional values?", "Do you consider that Lado is an important part of the Croatian national identity?", "Do you consider that is the artistic activity of the Lado Ensemble important for Croatian culture?", "Do you consider the Lado Ensemble a Croatian cultural brand?"...),
Childhood in the Neolithic
No full textTema ovog rada odnosi se na djetinjstvo u neolitiku. U uvodnim poglavljima govori se o različitim definicijama djetinjstva u društveno-humanističkim znanostima, kao i o povijesti istraživanja djetinjstva u arheologiji i teorijsko-metodološkim problemima koje ta istraživanja donose. U nastavku rada prikazana su arheološka istraživanja koja se bave istraživanjem djetinjstva i djece u doba neolitika. Poglavlja rada podijeljena su s obzirom na različite fokuse tih istraživanja. Tako su u prvom poglavlju prikazani rezultati istraživanja koja se odnose na zdravlje i prehranu djece, a provedena su analizama kostura i zubi s obzirom na traženje tragova anomalija i bolesti i izotopskim analizama koja otkrivaju način prehrane. Drugo poglavlje fokusira se na istraživanja i interpretacije dječjih ukopa pomoću kojih se želi utvrditi položaj djece u neolitičkim društvima s obzirom na njihov broj, položaj, grobne priloge i slično. U trećem poglavlju govori se o odgoju i socijalizaciji djece u neolitičkom razdoblju i prepoznavanju tragova tih aktivnosti na arheološkim nalazištima. U četvrtom poglavlju predstavljena su istraživanja koja govore o možebitnoj ulozi figurina u odgoju i životu djece u neolitiku u smislu igračaka ili sredstava za poučavanje. U petom poglavlju govori se o neolitičkim demografskim procesima koji su povezani s promjenama u prehrani i načinu privrede te o povezanosti tih demografskih promjena i odnosa prema rađanju i brizi o djeci. U završnim poglavljima predstavljena je sinteza svih predstavljenih istraživanja.The topic of this paper is childhood in the Neolithic. The introductory chapters discuss different definitions of childhood in the social and human sciences, as well as the history of childhood research in archaeology and the theoretical and methodological problems that this research raises. The rest of the paper presents archaeological research that deals with the childhood and children in the Neolithic era. The chapters of the paper are divided according to the different focuses of this research. Thus, the first chapter presents the results of studies related to the health and nutrition of children, which were conducted by analyzing skeletons and teeth searching for traces of anomalies and diseases and by conducting isotopic analyses that reveal the diet of an individual. The second chapter focuses on studies and interpretations of children's burials, with the aim of determining the position of children in Neolithic societies based on number of children burials, their position, grave goods, etc. The third chapter discusses the upbringing and socialization of children in the Neolithic period and recognizing traces of these activities at archaeological sites. The fourth chapter presents studies that discusses the possible role of figurines in the upbringing and life of children in the Neolithic in the sense of toys or teaching aids. The fifth chapter discusses Neolithic demographic processes that are associated with changes in diet and economic methods, and the connection between these demographic changes and attitudes towards childbirth and childcare. The final chapters present a synthesis of all the presented research
Plan upravljanja istraživačkim podacima projekta SLM-HRCE (Upravljanje standardnim jezikom u Hrvatskoj i Srednjoj Europi od 1945. do danas)
No full textTeacher's self-efficacy, personality and psychological characteristics of the situation - a dynamic approach
No full textNastavnička samoefikasnost povezana je s važnim ishodima kao što su kvaliteta poučavanja i učenički ishodi, zadovoljstvo poslom i sagorijevanje na poslu. Jedan od korelata nastavničke samoefikasnosti su pet-faktorske osobine ličnosti. Međutim, dosadašnje spoznaje o odnosu osobina ličnosti i nastavničke samoefikasnosti zasnivaju se na pretpostavci o nastavničkoj samoefikasnosti i osobinama ličnosti kao stabilnim konstruktima. No, prema postavkama Bandurine socijalno-kognitivne teorije, nastavnička samoefikasnost predstavlja dinamički konstrukt, određen interakcijom nastavnika i okoline u kojoj se nalazi. Također, prema suvremenim teorijama ličnosti, ličnost karakteriziraju stabilnost i varijabilnost do koje dolazi uslijed adaptacije pojedinca na okolinu s ciljem postizanja ciljeva. Stoga se ličnost može manifestirati kao vremenski stabilna (crta) i vremenski promjenjiva (stanje) osobina. Pri tome, stanje ličnosti nastaje kao odgovor na interpretaciju okoline u kojoj se pojedinac nalazi. Ova subjektivna percepcija okoline naziva se psihološka karakteristika situacije i povezana je s crtama ličnosti jer na temelju njih pojedinci odabiru i percipiraju situacije. Uzimajući u obzir važnost boljeg razumijevanja dinamičkih odrednica nastavničke samoefikasnosti, cilj doktorskog rada bio je ispitati prikladnost pretpostavljenog modela serijalne medijacije (i pojedinih njegovih dijelova) prema kojemu su crte ličnosti, osim što direktno predviđaju nastavničku samoefikasnost, povezane i s psihološkim karakteristikama situacije na temelju kojih dolazi do pojave stanja ličnosti koja, u konačnici, predviđaju nastavničku samoefikasnost. Istraživanje je provedeno u sklopu HRZZ projekta „Ličnost, emocije i radna uspješnost nastavnika: dinamička perspektiva“ na uzorku od 128 gimnazijskih nastavnica i nastavnika. Nastavnici su u prvoj točci mjerenja ispunili upitnik osobina ličnosti, dok su u drugoj točci sudjelovali u istraživanju temeljenom na metodi uzorkovanja iskustva. Rezultati višerazinskog modeliranja strukturalnim jednadžbama ukazuju na doprinos crta ličnosti, psiholoških karakteristika situacije i stanja ličnosti u objašnjenju varijance nastavničke samoefikasnosti, kao i na njihov međuodnos u vidu pretpostavljenih medijacijskih efekata.Teacher self-efficacy is a construct derived from social-cognitive theory (Bandura, 1986). It is generally defined as a dynamic phenomenon that changes based on mastery experience, vicarious learning, social and verbal persuasion, and physiological and affective states (Marschall, 2021). It can be viewed as teachers’ evaluation of their own ability to achieve the desired outcome in terms of student engagement and knowledge acquisition (Tschannen-Moran and Hoy, 2001). Although teacher self-efficacy is a dynamic construct, it has mostly been measured as a temporally stable construct or a trait (Schmitt & Blum, 2020), using cross-sectional and longitudinal designs with small number of time points (Murayama et al., 2017). Teacher selfefficacy measured in this way is related to important outcomes such as teaching effectiveness (positive relationship; Klassen & Tze, 2014), teaching quality (positive relationship; Burić & Kim, 2020), job satisfaction (positive relationship; Kasalak & Dağyar, 2020), and burnout (negative relationship; Aloe et al., 2014). Research on teacher self-efficacy as a dynamic construct or a state is less well represented. One of the few studies of this kind was conducted by Malmberg et al. (2014) using experience sampling method. The results of their study show that 25% of the variance in teachers' situationspecific self-efficacy can be explained by between-teacher variability, 25% by between-class variability, and 50% by between-lesson variability. These results show the importance of considering both stable (enduring characteristics of the teacher) and dynamic aspects (such as those arising from the characteristics of a particular class or lesson) of teacher self-efficacy. When it comes to stable characteristics of teachers, personality traits must be considered. They are defined as a set of psychological mechanisms within a person that are relatively consistent across time and situations and influence person’s interactions and adaptations to the environment (Larsen & Buss, 2008). Fundamental property of personality traits is their temporal and situational stability (Church et al., 2008), which enables prediction of behavior at different times and in different situations. Nowadays, the five-factor model (McCrae & Costa, 1987) is the most widely accepted model of personality traits. It consists of five basic dimensions: Extraversion, agreeableness, conscientiousness, neuroticism and openness. The results of meta-analytical studies indicate a positive correlation between teacher self-efficacy and traits of conscientiousness, openness, extraversion (Đigić et al, 2014; Ramdani et al, 2021; Sari et al, 2021), and agreeableness (Đigić et al, 2014; Sari et al, 2021) as well as a negative correlation between teacher self-efficacy and neuroticism (Đigić et al, 2014; Sari et al, 2021). Although personality is relatively stable over time, there is still some variability that can be described by the state model of personality. This model assumes that personality is characterized by both stability and variability (Judge et al., 2014), and it allows for the study of inter- and intraindividual differences in personality. One of the better-known models of dynamic personality was proposed by Fleeson and Jayawickreme (2015) as part of the whole trait theory. According to this theory, when people find themselves in a certain situation, they activate social-cognitive mechanisms with the aim of adapting to the demands of the situation, which invokes personality states (Jayawickreme et al., 2021). Personality traits represent a distribution of personality states, and individuals differ in the central point of the distribution, which explains the existence of interindividual differences in personality traits. However, given the states variability, it is possible that in certain situations people show personality states that are not typical for them (e.g. a very extraverted person shows introverted behavior). Although there is yet no research examining the relationship between teachers' self-efficacy and their personality states, certain conclusions about the nature of the associations can be drawn from research that has examined related or similar constructs. For example, findings of Abrahams et al. (2023) suggest that variability in states of conscientiousness, agreeableness, extraversion, and openness are positively related to teachers' self-rated job performance. This may be relevant in the context of examining the relationship between teachers' personality states and selfefficacy, as it is known that self-efficacy and job performance are related (Judge et al., 2007). To better understand the characteristics of situations, authors have developed standardized models that describe the variety of situations people encounter. By doing so, they focused on the meaning and interpretation of the situation, known as psychological characteristics of the situation (Rauthman & Sherman, 2020). About 7 such taxonomies have been developed in the last 10 years, using three different approaches: empirical, lexical, and theoretical (Rauthman & Sherman, 2020). The focus of the dissertation is on the CAPTION model (Parrigon et al., 2017) due to its conceptual relevance to educational context. This model is based on a lexical approach, according to which language contains words that can describe common psychological characteristics of situations (Rauthmann & Sherman, 2018). It consists of seven dimensions: complexity, adversity, positive valence, typicality, importance, humor, and negative valence. Although the model itself has not been used in educational research, several studies found a positive correlation between teachers’ ratings of their own humor (the corresponding CAPTION dimension is humor) and self-efficacy (Evans-Palmer, 2020; EvansPalmer, 2010; Daumiller et al., 2020). Lee, W.C. et al. (2020) found that teachers reported higher levels of self-efficacy when performing routine tasks (the corresponding CAPTION dimension is typicality) than when performing novel tasks and lower levels of self-efficacy when performing complex tasks (the corresponding CAPTION dimension is complexity). In addition, previous research involving undergraduate students has found a positive relationship between self-efficacy and task importance (the corresponding CAPTION dimension is importance; Azar et al, 2010; Lee, D. et al, 2020; Liem et al, 2008). Finally, in line with the social cognitive theory (Bandura, 1986), teachers' positive emotions (the corresponding CAPTION dimension is positive valence) were found to be positively related to self-efficacy, while negative emotions (the corresponding CAPTION dimensions are adversity and negative valence) were found to be negatively related to self-efficacy (Burić et al., 2020). Although people find themselves in a variety of situations, their interpretation still may be predictable and can be related to personality traits (Allport, 1961, as cited in Rauthman et al., 2015). This was also confirmed for the dimensions of the CAPTION model. Parrigon et al. (2017) reported a positive association of extraversion with the dimensions of complexity, importance, and humor and a negative association of extraversion with the dimension of typicality. In addition, they found a positive association of agreeableness with importance and a negative association with the dimensions of adversity, humor and negative valence. Conscientiousness also has a positive association with importance and a negative association with humor and negative valence. Neuroticism is positively related to adversity and negative valence and negatively related to importance. Finally, openness is positively related to complexity, typicality and importance and negatively related to negative valence. Given that perception of the situation invokes personality states (Jayawickreme et al., 2021), psychological characteristics of situation should be related to personality states as well. This was confirmed in the study by Abrahams et al. (2021), in which the CAPTION dimension of humor was a positive predictor of the state of extraversion and the state of openness, while the CAPTION dimension of adversity was a negative predictor of the state of agreeableness. Based on the established relationships between personality traits, psychological characteristics of the situation, personality states and teacher self-efficacy, it can be concluded that there is a complex relation between these constructs and that teacher self-efficacy is a dynamic construct shaped by the interplay of personal and environmental factors (Bandura, 1986). However, effects of intraindividual processes have been largely neglected in the field of educational psychology (Murayama et al., 2017). Instead, research has predominantly focused on stable inter-individual differences (Đigić et al., 2014; Ramdani et al., 2021; Sari et al., 2021). In a few studies in which teacher self-efficacy was operationalized as a dynamic construct (Malmberg et al., 2014; Rupp & Becker, 2021), the authors only considered the role of contextual factors (e.g. the classroom) and disregarded personal factors. On the other hand, research that has examined the dynamic relationships between teachers’ personal factors and environmental factors (Abrahams et al., 2021, 2023) has not specifically focused on teacher self-efficacy. Therefore, research that simultaneously examines the dynamic interplay of personal factors, contextual factors, and teacher self-efficacy is missing. The aim of the present study is therefore to examine a serial mediation model (and its parts), which includes both personal and environmental factors as relevant predictors of teacher selfefficacy (Bandura, 1986). The most important personal factor of the proposed model is personality, based on the findings on the relationship between personality traits and teacher self-efficacy (Đigić et al., 2014; Ramdani et al., 2021; Sari et al., 2021). In line with the assumptions of the whole-trait theory (Fleeson & Jayawickreme, 2015) according to which personality can also be expressed as a state in response to individual's perception of the situation (Allport, 1961, as cited in Rauthman et al., 2015), the serial mediation model assumes that personality traits also indirectly predict teacher self-efficacy. Specifically, personality traits shape perceptions of the situation (i.e., psychological characteristics of the situation; Parrigon et al., 2017), which in turn triggers a response that manifests in personality states (Jayawickreme et al., 2021) that further has an effect on teacher self-efficacy (Abrahams et al., 2023). METHOD The study was conducted as part of the research project "Teacher personality, emotions and job performance: A dynamic perspective", which was funded by the Croatian Science Foundation (Grant No. IP-04-2019-5472) In total, 113 female and 15 male teachers working at 17 secondary schools in Croatia participated in the study. Teachers taught a wide range of subjects (i.e., biology, chemistry, ecology, Croatian language, English language, German language, Italian language, Portuguese language, French language, Russian language, Latin language, philosophy, ethics, logic, theatre pedagogy, physics, geography, history, sociology, politics and economics, psychology, music arts, visual arts, computer science, mathematics, religious education). On average, teachers had M = 14.81, SD = 8.64 years of teaching experience. In February 2023, teachers completed a 15-minute online survey in which data on teacher demographics and personality traits were collected. Teacher personality traits were measured using the Big Five Inventory-2 (Soto & John, 2017). In late March 2023, teachers participated in an experience sampling study which lasted for 10 working days or two weeks. Upon arrival at the first lesson of each working day, by using a specially designed application for experience sampling (m-Path) installed on their cellphones, teachers indicated that they started the class. This triggered a sequence of 3 short surveys that were sent to teachers at random intervals over a period of 4 hours. The sequence of 3 surveys represents a compromise between the number of data points required to capture the dynamics of the process on one hand, and the statistical power of the study, teacher workload, and interference of surveys with teaching on the other hand. The first survey arrived at intervals of 10 to 70 minutes after teachers indicated the start of their first lesson (to allow sufficient time for lesson development), the next at intervals of 100 to 160 minutes after the start of the lesson, and the last at intervals of 190 to 250 minutes after the start of the lesson. A break of 30 minutes was set between the intervals to control the pause between lessons and to allow sufficient time to develop the dynamics of the next lesson. At the beginning of each questionnaire, teachers were asked to indicate whether they were in class. If the answer was yes, a questionnaire measuring teacher personality states (Big Five Inventory-10-R; Stone et al., 2022, item reference changed to “at this moment“), psychological characteristics of the situation (CAPTIONs-SF; Parrigon et al., 2017; adapted by Reindl et al., 2021), and self-efficacy (item reference changed to “at this situation”, one item per dimension taken from the Teacher Sense of Efficacy Scale; Tschannen-Moran & Woolfolk Hoy, 2001) was administered. Each time, teachers had 20 minutes to open the questionnaire, after which it was no longer active. If teachers indicated that they were not in the class, the questionnaire was automatically stopped, and the next notification was delivered at scheduled time. Considering duration of the study and the number of daily notifications, a maximum of 30 experiences per teacher could be recorded. RESULTS AND CONCLUSION Given the hierarchical structure of the data (time points nested within teachers), all analyses were based on the Multilevel Structural Equation Modeling (ML-SEM) approach. The MLSEM allows decomposition of variance into two components – within-person and between- person – thus enabling the investigation of the proposed associations at within-person (L1) and between-person (L2) levels of analysis. ML-SEM analyses were performed in Mplus 8.10 (Muthén & Muthén, 1998-2017) using the Bayesian algorithm for parameter estimation. Bayesian estimation was applied because it is less sensitive to sample size and number of time points compared to the maximum likelihood estimation algorithm (Kim et al., 2020). When it comes to the relationships between personality dimensions and self-efficacy, at the between-person level, teacher self-efficacy was best explained by agreeableness (positive relation). This is partly in line with the hypothesis, as we expected that conscientiousness, extraversion, openness, and negative emotionality will also explain teacher self-efficacy (Đigić et al, 2014; Sari et al, 2021). In line with the hypothesis, at the within-person level, all personality states were related to teacher self-efficacy in the expected direction. Conscientiousness, extraversion, agreeableness, and openness were positively related to selfefficacy, while negative emotionality was negatively related to self-efficacy. However, the hypothesis was partially confirmed at the between-person level since only conscientiousness and openness were positively related to teacher self-efficacy. Regarding the relationship between psychological characteristics of the situation and teacher self-efficacy, at the within-person level, the hypothesis was partially confirmed. As expected, importance, typicality, and positive valence were positively related to teacher self-efficacy, while adversity was negatively related to teacher self-efficacy. However, humor and negative valence were unrelated to self-efficacy, while complexity showed positive associations with teacher self-efficacy (rather than expected negative). At the between-person level, only the importance of the situation was positively related to the teacher self-efficacy, partially confirming the hypothesis. Considering the relationships between personality traits and personality states, the hypothesis was partially confirmed. In accordance with the assumptions of the whole trait theory (Fleeson & Jayawickreme, 2015), at the between-person level, traits of extraversion, agreeableness, and conscientiousness were related to the corresponding personality states. However, traits of negative emotionality and openness were not related to the corresponding personality states. Moreover, since people select and perceive situations to a certain extent based on personality traits (Allport, 1961, as cited in Rauthman et al., 2015), significant relationship between personality states and psychological characteristics of situations was hypothesized. This assumption was only confirmed (partially) for the dimension of agreeableness. At the between- person level, agreeableness trait was related to importance, typicality (positive relation), negative valence, and adversity (negative relation). Given that perception of the situation is related to personality states (Jayawickreme et al., 2021), specific hypothesis about its relationship with the personality states for each dimension of psychological characteristics of situation was set. The complexity was assumed to be positively related to extraversion and openness. At the within-person level, the hypothesis was partially confirmed, as complexity (positive correlation) explained the variance in conscientiousness and openness. At the between-person level, complexity did not explain the variance of any of the personality dimensions, so the hypothesis was rejected. For the dimension of adversity, it was assumed that it is positively related to negative emotionality and negatively related to agreeableness. At the within-person level, hypothesis was partially confirmed, since adversity of the situation explained the variance in negative emotionality (positive correlation), extraversion, agreeableness, and openness (negative correlation). At the between-person level, adversity only explained the variance in negative emotionality (positive association), so the hypothesis was partially confirmed. Positive valence was hypothesized to be positively associated with extraversion. This hypothesis was partially confirmed at the within-person level. Positive valence explained the variance of extraversion, conscientiousness, openness (positive correlation), and negative emotionality (negative correlation). At the between-person level, positive valence was not related to personality states, so the hypothesis was rejected. For typicality, it was assumed that it is positively related to openness and negatively to extraversion. At both levels of analysis, the hypothesis was rejected because typicality did not explain the variance in openness and extraversion. However, at the between-person level, typicality only explained the variance in negative emotionality (negative association). For importance, it was assumed that it is positively related to extraversion, openness, agreeableness, and conscientiousness and negatively to negative emotionality. At the within-person level, the hypothesis was partially confirmed, since the importance explained the variance in conscientiousness (positive correlation). At the between-person level, importance explained the variance in extraversion and openness (positive corre
Preparation of the actor for a speech performanse
No full textU ovome preglednom radu proučava se scenski govor tako što se opisuje priprema glumca za govornu izvedbu (osobni, autorski proces). Daje se pregled različitih metoda poučavanja kojima glumac ostvaruje govorne slike dramskih osoba. Opisuju se i provode vježbe za govornu pripremu glumca prema Varošanec-Škarić, Marković i Berry te se potom daje kritički ostvrt na iskustvo u provođenju vježbi. Ističe se važnost suradnje fonetičara s glumcem od samoga početka procesa pripreme govorne izvedbe od odabira tekstova, pripreme i upamćivanja pa sve do postizanja govorne izražajnost. Ističe se također i potreba školovanja glasa te razvijanja dobre vokalne tehnike. Posebna se pozornost posvećuje disanju, impostaciji glasa, dikciji, ostvarenju ritma, stanki i tempa te prozodiji riječi i rečenice. Osobnim procesom pripreme za scensku izvedbu daju se i naputci za samostalan rad na govornoj izvedbi te prijedlozi za samovrednovanje takve pripreme uz opis iskustva pripreme i samorefleksiju glumca, autora rada.In this review, stage speech is studied by describing the actor's preparation for speech performance (personal, authorial process). An overview of different teaching methods is given, by which the actor realizes the speech images of dramatic characters. Exercises for the actor's speech preparation according to Varošanec-Škarić, Marković and Berry are described and performed, and then a critical comment is given on the experience of conducting the exercises. The importance of the phonetician's cooperation with the actor is emphasized from the very beginning of the process of preparing a speech performance - from the selection of texts, preparation and memorization, all the way to achieving speech expressiveness. The need to train the voice and develop good vocal technique is also emphasized. Special attention is paid to breathing, impostation of the voice, diction, achievement of rhythm, pauses and tempo, and prosody of words and sentences. Through the personal process of preparing for a stage performance, instructions are given for independent work on a spoken performance, as well as suggestions for self-evaluation of such preparation, along with a description of the preparation experience and self-reflection of the actor, the author of the work
State as patron – commissions and acquisitions of artwork for interiors of public institutions in Croatia from the early 1950s to the end of the 1960s
No full textUmjetnička djela naručena i otkupljena za interijere javnih ustanova od strane države tijekom 1950-ih i 1960-ih čine značajan, ali još uvijek nedovoljno istražen segment hrvatske povijesti umjetnosti. U kontekstu poslijeratne obnove i izgradnje države među brojnim važnim investicijama bile su i javne građevine čiji su interijeri opremljeni suvremenim umjetničkim djelima. Likovni umjetnici, arhitekti i dizajneri, vođeni idejama modernizama i „sinteze svih umjetnosti“ ostvarili su niz projekata u kojima je javnosti predstavljen suvremeni umjetnički izraz, ali i zahtjevi jugoslavenske (kulturne) politike. Disertacija donosi analizu i interpretaciju kulturne politike FNRJ-a/SFRJ-a i NR/SR Hrvatske iz rakursa otkupa umjetnina i opremanja interijera, istraživanje mehanizama otkupa i narudžbi likovnih djela, povijesnoumjetnički kontekst i povijest uređenja interijera javnih ustanova, razmatranje i kontekstualizaciju istaknutih radova, komparativne primjere te tipologiju likovnih djela.This doctoral thesis focuses on the relationship between the state and art based on the commission and acquisition of artwork for the interior spaces of public institutions in the territory of the People's Republic (NR) and the Socialist Republic (SR) of Croatia from the early 1950s to the late 1960s. The works of art commissioned from contemporary artists or acquired throughout the 1950s and 1960s for the purpose of interior design of public, or social institutions, as they were called at the time, form a significant, but still largely under-researched, segment of Croatian art history. Commissions, tenders and acquisitions of art have a prominent role in the context of post-war reconstruction and the formation of a new state, as evidenced by the aesthetic quality of some of the completed works, and a vast number of works that have only partially been preserved today or segmentally dealt with in literature, museum documentation and archival material. The number and quality of the works offer themselves today as testimonies of a range of state initiatives in the period from the 1950s to the 1960s especially those that were launched in order to ensure that a percentage of investment construction funds in the entire Federal People's Republic of Yugoslavia (FNRJ), that is, the Socialist Federal Republic of Yugoslavia (SFRJ) was used for the acquisition of artworks. In addition, the artistic quality also represents the artist's active consideration and commitment to the adoption of the so-called synthesis of all arts. This concept signified a unification of architecture, fine arts and design into a unique, total work of art. Since the artworks in this thesis primarily relate to paintings and sculptures commissioned or acquired for buildings of representative public characteristics, the research focused primarily on artistic furnishing of public interiors (governmental, cultural, sports and health institutions, military, tourist, catering and transportation facilities, and factories, company branches and banks) which have been analysed within the context of Yugoslav social ownership and a range of legal acts and by-laws passed in the researched period. The corpus of artworks on which the research was conducted includes a wide scope of media and different functions of buildings, and since the largest client was the state, i.e. state administration, institutes, associations, cooperatives, companies and other institutions financed from the state budget, the research topic and interpretation have been subject to a broad historical, cultural and artistic analysis. The first chapter (Introduction) provides an overview of previous research directly or indirectly linked to the topic of the thesis, the sample and methodology as well as research limitations, which have mostly been related to the issue of availability of archival documents. The chapter concludes with the research goal and hypotheses. The hypotheses are the following: 1) the acquisition and commission of artwork in Yugoslavia and the Republic of Croatia during the 1950s and 1960s were initiated and heavily regulated by the state; 2) the concept of artistic synthesis, or more specifically, the integration of architecture and fine arts, is advocated on all levels of government administration and state institutions that were responsible for culture and art; 3) cultural policy, ideological agendas of the state and the type of public institution impact the use of iconographic, formal and stylistic features of artworks and the level of the artistic synthesis; 4) due to their number, quality and socio-political circumstances the acquired and commissioned artworks for public interiors in the 1950s and 1960s represent an important segment in Croatian art history. The second chapter of the thesis (Socio-historical context and cultural policy of FNRJ/SFRJ and NR/SR of Croatia) presents the socio-historical and political context in Croatia and Yugoslavia between the Second World War and the 1970s. The chapter explains the definitions of ideology, culture and cultural policy that form the basis of the state's political decisions of the time as well as a political and cultural framework from within which the artworks have been analysed. The chapter ends with a brief overview of the cultural policies in the People's /Socialist Republic of Croatia and the Federal People's Republic of Yugoslavia or, the Socialist Federal Republic of Yugoslavia, which includes the period of the so-called agitprop culture, an institutional implementation of cultural policy in the 1950s and 1960s and the reforms and censorship of the early 1970s. Within the legislative framework, the Yugoslav cultural policy objectives were to protect cultural heritage, incentivise the production of artworks through the organisation of events and otherwise, supervise and educate artists, experts and cultural workers, while maintaining control of the entire field of artistic and intellectual creativity. The development of cultural policies from the end of the Second World War to the early 1970s had several phases. In the first phase, from 1945 to 1951/1952, also called the period of "agitprop culture," the Yugoslav cultural policy exercised strict supervision and intense ideological pressure on culture. This could be felt in the production, acquisitions and commissions of artworks especially during 1948 and 1949, when the acquired art represented predetermined partisanship, particular ideas and connective affinities among all Yugoslav peoples. In other words, the socially engaged message of these works could be interpreted in a rather straightforward fashion. The second phase of Yugoslav cultural policy came after the temporary cessation of Agitprop (until the reactivation of the Ideology Committee). Although this phase saw a gradual liberalization, decentralization and bureaucratization of the artistic and cultural field of production, especially after the Sixth Congress of the Communist Party of Yugoslavia (1952), in the 1950s and 1960s Yugoslav cultural policy was completely dependent on the state-party policy, which meant that state's cultural institutions exercised exclusive control of the field. This also meant there were coexisting tendencies – one was an increased openness towards expressions of high modernism - abstract and new post-war figurative forms, especially in public art and monuments, and the other was the retention of a clear ideological and memorial function of art, very often manifested as socialist realism. Following the early liberalization process and lowered ideological pressure, the early 1950s saw an individualization of artistic expression, and various works of art of moderate and radical modernist tendencies appeared on the art scene, which, despite numerous debates and resistance, were supported by the state through exhibitions, scholarship, public acquisition and commission. In the early 1960s, the highest echelons of the government denounced the dominant position of abstract art, which in 1962 and 1963 led to changes in the acquisition policy. The restricted freedom of artistic expression did not, however, continue in the second half of the decade when the state encouraged both institutionally and financially the development of art that could be characterised as supporting modernist tendencies. The third chapter of the thesis provides an overview of the post-war art in Croatia, or more specifically, an overview of artistic developments and debates, cultural and political upheavals and overviews of artistic forms, styles and movements, mostly socialist realism and abstract art, which marked the post-war art scene and which were particularly significant in the context of the commission and acquisition of artworks for the interior spaces of specific state institutions. The overview begins with the cultural and political context of post-war art and a series of important speeches by statesmen and artists on the role and position of art - from adherence to the ideological program of the state to the freedom of artistic creation. The chapter also gives an account of important exhibitions that served as testing grounds for the affirmation of new artistic expressions and events that spurred a number of critical reviews. These exhibitions include Archaic Surrealism (1952) by Antun Motika, Miljenko Stančić and Josip Vaništa (1952), American Experience (1953) by Edo Murtić, the exhibition of painters from the EXAT 51 group (1953), Salon 54 (1954) and the 1 st Didactic Exhibition: Abstract Art (1957). One segment of the chapter provides a brief overview and definitions of artistic forms, styles, movements and protagonists in post-war art in Croatia, while other focus more on the ideological aspects of socialist realism and abstract art and their significance concerning the specific geopolitical position of Yugoslavia. The fourth chapter, entitled The Synthesis of Fine Arts – the Development of the Concept and Its Influence on Art in Public Interiors in the 1950s and 1960s in Croatia, deals with the history of the concept "synthesis of fine arts" from the 19th century to the 1960s, particularly focusing on the post-war period in the international context and the Socialist Republic of Croatia. It was a complex idea that most often implied the unification of architecture, design and applied arts, painting and sculpture into a unique work of art. The chapter provides an explanation of the institutional framework of the concept of synthesis, and based on the research of archival material and the then-current periodicals it offers a reconstruction of the debates about the synthesis of all arts that took place during artists' meetings, at exhibitions and conferences and in magazines published in the period in question. It also highlights the significance of the synthesis of fine arts in the theoretical concept of gestalt theory. The fifth chapter, entitled Instruments of the Acquisition and Commission of Artworks for the Interiors of Public Institutions in the Territory of the People's/ Socialist Republic of Croatia in the 1950s and 1960s offers an unprecedentedly thorough reconstruction and explanation of the role of institutionalized cultural activities in the 1950s and 1960s (state administration, foundations, academies, state master workshops and professional associations and cooperatives) in the history of acquisition and commission policies regarding artworks in Yugoslavia and Croatia. The chapter goes on to explore in detail the state acquisition and commissioning process and the instruments, the impact of cultural policy on the acquisition and commission of artworks in the context of the expenditures for culture from the annual federal /republican budget, in the context of cultural and socio-political developments and legal acts and by-laws on the allocation of a percentage for artworks within investment construction project budgets. An important aspect of the chapter represents the investigation into the work of acquisition committees at the federal, republican and local levels of government, which often decided the fate of artists, the allocation of funds to numerous museum and gallery institutions, but also influenced the visual presentation of government in public buildings. The composition of the committees was also indicative of and depended on the country's cultural policy. In the post-war period, the committees were often made up of state administration employees, people imposed by the party, but also experts in culture such as art historians. In the early 1950s, they were largely made up of visual artists, and members of professional art associations who were sometimes accused of irregularities in following the procedures of purchasing and commissioning artworks. Apart from the association, the commissioning process was also greatly influenced by the State's Master Workshops as independent institutions which, due to considerable grants, favourable working conditions and the buildings they owned, were the only ones able to realize large orders, and thus influence the form and content of the works. Attempts to regulate the aforementioned instruments were the subject of numerous debates, as well as proposals for regulations, decrees and recommendations, especially during the 1950s. Considering the proliferation of proposals and legal acts in a single decade, artistic commissions and acquisitions for the interiors of public institutions embody a dynamic relationship between art and the state. The sixth and biggest chapter of the thesis offers a typology of artworks commissioned and acquired for public buildings of various functions. Sub-chapters contain an analysis and interpretation of a considerable number of diverse works of art situated in the interiors of administrative, military and educational institutions, cultural, and health institutions, catering establishments, shops, branches of banks and post offices, transport infrastructure facilities, factories, associations and societies, tourist architecture and residences of the President of the Socialist Federative Republic of Yugoslavia. Although the typology has been created based on several criteria, including the type of work, location, client and motivation for the integration of art and architecture, the research of archival and museum documentation, periodicals, in situ buildings and previous research is given in sub-chapters by the type of public institutions in order to combine in one place the similarities and differences of artworks situated in the interiors of particular institutions that depended on socio-political circumstances. Each function of the building is presented within its context, with numerous examples which represent an overview of acquisitions and commissions for the interior, an example selected for its aesthetic and sociopolitical significance, which provides an in-depth analysis and interpretation of the work. They are also presented through a comparative example in other Yugoslav republics. At the end of the chapter, there is a short list of examples divided according to the proposed typology. At the very end, in addition to the list of references, the doctoral dissertation includes appendices (various archival documents) and a list of works in the interiors of public institutions in Croatia in the 1950s and 1960s. The list contains known information about the location, author, year, type of work and technique, client, selected works of literature related to the work, and a photograph (if the work has been preserved or if there is photo documentation). Additionally, each work has a note related that usually includes information about the architect of the building, the collaborators and the degree of preservation of the work. The research carried out for this thesis has resulted in the first comprehensive analysis, contextualisation, interpretation and valorisation of artworks produced for public interiors in Croatia in the 1950s and 1960s. It also provides an insight into the role of the state as a client, and numerous aspects of cultural and acquisition policies that have not been addressed so far. New information is provided about numerous unknown or lesser-known works of painting and sculpture commissioned and acquired for the interiors of public institutions. Consequently, the results include the attribution and dating of ten artworks. The contribution of the research comes in the form of typology and a list of artworks in the interiors of public institutions that were commissioned or acquired in the 1950s and 1960s with some examples from the 1940s and 1970s). The systematization and interpretation of the material and the critical analysis of primary and secondary sources expand on the previous knowledge about the art of the 1950s and 1960s and fragmentarily researched works of art
The Significance of Vindija Cave as Paleolithic Site through Interdisciplinary Research
No full textPrimjena znanja, metoda i tehnika iz brojnih znanstvenih disciplina u arheološkim istraživanjima špilje Vindije, poput paleoantropologije, paleontologije, geologije, paleoklimatologije i paleogenetike, predstavlja lokalitet kao jedan od najistaknutijih primjera interdisciplinarnog pristupa u prapovijesnoj arheologiji. Navedeno podupire i kontinuirani interes znanstvene zajednice izražen kroz bogatu znanstvenu građu nastalu kroz više desetljeća interdisciplinarnih istraživanja, čime špilja Vindija predstavlja izuzetan primjer interdisciplinarnog znanstvenog rada. Shodno tome, ovaj rad nudi specifičan pregled dosadašnjih istraživanja špilje Vindije s ciljem isticanja važnosti lokaliteta u kontekstu paleolitika te razvoja metoda i interdisciplinarnosti u arheologiji. Primarni cilj ovog rada je sinteza dosadašnjih spoznaja o špilji, uz sistematizirani pregled znanstvenih izvora i rezultata kronološki provedenih interdisciplinarnih istraživanja. Poseban naglasak stavljen je na razumijevanje važnosti G i F kompleksa, koji obilježavaju vrijeme kasnih neandertalaca, ranih anatomski modernih ljudi i biokulturne promjene tijekom prijelaza srednjeg na gornji paleolitik.
Početni dio rada bavi se istraživanjem uloge interdisciplinarnosti pri arheološkim istraživanjima i primjene u istraživanjima same špilje, iznošenjem općih karakteristika lokaliteta, smještaja lokaliteta, povijesti istraživanja i pregleda stratigrafije. Iznimnu važnost za daljnje razumijevanje prošlosti špilje Vindije predstavlja poglavlje o rezultatima datiranja, koje vodi do konačnih interpretacija starosti slojeva i nalaza te njihove važnosti u razdoblju paleolitika. Nadalje, rad obuhvaća detaljnu analizu stratigrafije, flore i faune s ciljem razumijevanja geoloških procesa, klimatskih uvjeta i promjena, evolucije i prilagodbe faunskih vrsta, odnosa faune i hominina, obrazaca njihovog ponašanja te rekonstrukcije paleoklimatskih i paleookolišnih uvjeta, uz analizu koncepta refugija. Arheološka industrija predstavljena je komparativno-tipološkim pregledom litičkog i koštanog oruđa kroz stratigrafiju, uključujući analizu korištenih sirovina i tehnologija izrade litičkog oruđa te detaljnu raspravu o oruđima, tvorcima određenog koštanog oruđa i pripadnosti materijalnim kulturama, sa svrhom utvrđivanja razvoja tehnoloških i tipoloških karakteristika oruđa u kontekstu kulture i okoliša, razjašnjenja stratigrafskog konteksta G3 i G1 sloja te ispitivanja mogućeg međusobnog kulturnog utjecaja i/ili interakcije između neandertalaca i anatomski modernih ljudi. Posljednje poglavlje temelji se na detaljnoj analizi rezultata interdisciplinarnih istraživanja ljudskih skeletnih ostataka, koja uključuju paleoantropološke i genetske analize, s naglaskom na moguće biološke i genetske utjecaje te interakcije između neandertalaca i anatomski modernih ljudi. Uz razne paleoantropološke analize, istaknute su morfološke karakteristike vindijskih neandertalaca, njihovog intermedijarnog položaja i iznimnog evolucijskog značaja potvrđenog genetskim analizama, kako bi se utvrdile i istaknule biološke specifičnosti vindijskih neandertalaca u evolucijskom smjeru k anatomski modernim ljudima, omogućila detaljnija rekonstrukcija načina života i međusobnih odnosa hominina te predstavila ključna važnost špilje Vindije u razumijevanju kronološkog konteksta, evolucije i asimilacijskog modela. Zaključak obuhvaća kratku sintezu provedenog rada uz isticanje važnosti paleolitičkog lokaliteta špilje Vindije kao središta interdisciplinarnog istraživanja.The integration of knowledge, methodologies, and techniques from various scientific disciplines—including paleoanthropology, paleontology, geology, paleoclimatology, and paleogenetics—within the archaeological investigations of Vindija Cave highlights the site as one of the most prominent examples of an interdisciplinary approach in prehistoric archaeology. This is further supported by the sustained interest of the scholarly community, as reflected in a substantial corpus of scientific literature developed over decades of interdisciplinary research, making Vindija Cave an exeptional example of interdisciplinary scientific work. Accordingly, this thesis provides a comprehensive synthesis of research conducted at Vindija Cave, aiming to emphasize the site's relevance within the Paleolithic period and its role in advancing methodological and interdisciplinary frameworks in archaeology. The primary objective is to consolidate current knowledge through a systematic review of academic sources and the results of chronologically conducted interdisciplinary studies. Special focus is placed on the significance of stratigraphic complexes G and F, which are associated with the late Neanderthal occupation, the emergence of early anatomically modern humans and biocultural changes during the Middle to Upper Paleolithic transition.
The initial section of the thesis explores the role of interdisciplinarity in archaeological research and its implementation in the study of Vindija Cave, presenting the site's general characteristics, geographic location, history of investigations, and a stratigraphic overview. A pivotal section of the thesis is dedicated to the results of absolute dating, which provide the foundation for interpreting the age of stratigraphic layers and associated finds within the Paleolithic framework. Subsequently, this thesis offers a detailed analysis of stratigraphy, flora and fauna, with the aim of understanding geological processes, climate patterns and variability, faunal evolution and adaptation, hominin-faunal relationships, behavioral patterns and paleoenvironments, including an exploration of the refugia concept. The archaeological assemblage is presented through a comparative-typological review of lithic and osseous tools across stratigraphic sequence. This includes assessments of raw material selection, lithic production techniques, and an in-depth discussion of tools, toolmakers, and cultural attribution. The goal is to establish the technological and typological characteristics of tools within cultural and environmental frameworks, to clarify the stratigraphic context of layers G3 and G1, and to examine the potential for cultural interaction and/or influence between Neanderthals and anatomically modern humans. The final chapter presents a detailed analysis of interdisciplinary findings related to human skeletal remains, incorporating paleoanthropological and genetic studies. Emphasis is placed on biological and genetic interactions between Neanderthals and anatomically modern humans, including the morphological characteristics of the Vindija Neanderthals, their intermediate evolutionary position and their confirmed evolutionary significance through genomic analyses. These findings contribute to understanding of the biological distinctiveness of the Vindija Neanderthals, their evolutionary trajectory toward anatomically modern humans, and they enable a more nuanced reconstruction of hominin subsistence and interactions. Ultimately, this underscores the key importance of Vindija Cave in interpreting the chronological context, evolutionary processes and assimilation model. The conclusion provides a brief synthesis of the research and reaffirms the significance of Vindija Cave as a major Paleolithic site and a center of interdisciplinary research