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The organization of lithic technology at the site of Campanož in the context of the middle palaeolithic of the Adriatic region
No full textU arheološkim kontekstima litička tehnologija često je informativan izvor o raznim aspektima ljudskog ponašanja. Povezanost litičke tehnologije i sustava korištenja okoliša u vrijeme srednjeg paleolitika dobro je zabilježeni fenomen.
Cilj ovog rada je proučavanje organizacije proizvodnje i ekonomije litičkih artefakata na srednjopaleolitičkom nalazištu Campanož. Nadalje, cilj rada je shvatiti odnos između organizacije proizvodnje i ekonomije te sustava mobilnosti i korištenja okoliša skupina koje su koristile nalazište, u kontekstu poznatog srednjopaleolitičkog ponašanja na Jadrana. Campanož je stratificirano nalazište na otvorenom na prostoru južnog dijela istarskog poluotoka, koje je pronađeno zajedno u kontekstu s prirodnim izvorištem kamene sirovine. U teorijskom smislu analiza se temelji na kombinaciji pristupa lanca operacija, tehnološke organizacije i ljudske bihevioralne ekologije, a iz teorijskih postavki iznesena su očekivanja o odnosu korištenja izvorišta rožnjaka i karakteristika skupa artefakata. Istraživanje je provedeno tehno-tipološkom analizom, koristeći se i rezultatima tafonomske i sirovinske analize.
Rezultati analize pokazuju da su na nalazištu uglavnom korišteni varijeteti sirovine koja potječe sa samog izvorišta. Cijeli postupak proizvodnje, od razokorivanja jezgara do dodatne obradbe oruđa, provođen je na nalazištu. Osim toga, jezgre su odbacivane u različitim stupnjevima redukcije, a razlike u stupnju redukcije mogu se između ostalog povezati i s razlikama u kvaliteti sirovine. Načini proizvodnje odbojaka su raznoliki, a prevladaju diskoidni i centripetalni proizvodni postupci. Rjeđe su zastupljeni dodirujući naizmjenični ortogonalni, jednosmjerni plošni, ortogonalni plošni, višesmjerni višeplošni i volumetrijski postupci. Levaloaški postupak rijetko je zastupljen. Jedan dio artefakata pretvoren je u oruđa, a uglavnom se radi o komadima na lokalnoj sirovini. Osim toga, nekoliko primjeraka svjedoči o donošenju već gotovih artefakata na nalazište. Tafonomski procesi znatno su utjecali na skup, selektivno transportirajući artefakte malih dimenzija, dovodeći do fragmentacije artefakata te ostavljajući brojne površinske modifikacije. Nalazište je posjećivano kroz dugi vremenski period, o čemu svjedoče razlike u površinskim modifikacijama artefakata.
Usporedba s određenim nalazištima s prostora Jadrana pokazuje da su s obzirom na prosječne dimenzije jezgara i nizak stupanj redukcije odbojci i oruđa relativno malih dimenzija. Uz to, poredba s nalazištima na otvorenom iz sjeverne Dalmacije pokazuje da je i udio odbojaka iz rane faze redukcije nešto slabije zastupljen. Ovi podaci sugeriraju da je s nalazišta odnesen dio odbojaka, ponajprije većih primjeraka koji su često bili i okorinski. Osim toga, usporedba s drugim nalazištima koja su smještena na izvorištima sirovine ukazuje na relativno visoki udio oruđa u skupu s Campanoža, što zajedno s korištenjem svrsishodnih proizvodnih postupaka sugerira da je samo izvorište bilo nastanjivano.
Navedeni podaci interpretirani su kao rezultat aktivnosti rezidencijalno vrlo mobilnih skupina neandertalaca, koje su izvorište koristile za opskrbu pokretnim priborima oruđa. Pri tome je nalazište možda korišteno i kao rezidencijalni kamp. Pri posjeti nalazištu osim sirovine iskorištavani su i otpadci ranijih posjeta, što je vidljivo iz recikliranih artefakata. Osim toga, zasad su dostupni samo dokazi za korištenje lokalnog okoliša, u rasponu do 8 km. Iznesen je preliminarni model o mogućim okolišnim uvjetima na prostoru istarske krške zaravni tijekom pleistocena u kojima bi navedeni sustav korištenja okoliša bio moguć. Naposljetku, u radu se u kontekstu geomorfoloških karakteristika istarske krške zaravni stavlja naglasak na buduće perspektive rada na srednjopaleolitičkim nalazištima na otvorenom.In archaeological contexts, lithic technology is often seen an informative source about various aspects of human behaviour. The relationship between lithic technology and land use systems during the Middle Palaeolithic is a well-documented phenomenon.
The aim of this thesis is to study the organization of production and the economy of lithic artifacts at the Middle Palaeolithic site of Campanož. Furthermore, the goal of the paper is to understand the relationship between the organization of production and economy, and the mobility patterns and land use systems of the groups that used the site, framed within the context of the known Middle Palaeolithic behaviour on the Adriatic. Campanož is a stratified open-air site located in the southern part of the Istrian Peninsula, found in association with a natural source of stone raw material. The site was excavated in 2010 and 2011, revealing a rich assemblage of more than 100.000 chert finds, among which artefacts were found. More than 6.000 artefacts were recognized among the finds, and among these a sample of about 1.500 finds was selected for analysis.
The theoretical background of the research was based on an approach combining aspects of chaîne opératoire, technological organization, and human behavioural ecology. Borrowing concepts from these approaches, theoretical assumptions were made about the relationship between the use of the chert source and the characteristics of the resulting artefact assemblage. The research was conducted through techno-typological analysis, while also utilizing results from taphonomic and raw material analyses. More specifically, quantitative-based attribute analysis of the artefacts was combined with a techno-economic analysis, as well as a classification of cores according to a reading of the flaking orientations, their chronological relationships and the roles of different core parts in the reduction process.
The results of the analysis show that the varieties of raw material used at the site mainly came from the source itself. The raw materials are residual, as they were released into the soil by the dissolution of the underlying limestone and subsequently exposed on the surface by erosional processes, thereby becoming available to hominin exploitation. The entire reduction process, from core decortication to the retouching of tools, was conducted on-site. Cortical elements are well represented and show that both whole and fragmented pieces of raw material were used. Raw materials of different shapes were used, and examples of nodules, lenticular nodules, thin platy pieces and fosill sponges. There is a variation among the raw material in terms of silicification, and the better-quality raw materials make up only a minor part of the entire assemblage. The differences in reduction among artefacts can, among other things, be linked to variations in the quality of the raw material.
Cores were discarded at different stages of reduction, which included cores in the strict sense, as well as cores on flakes. The ways of producing flakes were diverse, with discoid and centripetal methods predominating. Less common were secant alternating orthogonal, unidirectional unifacial, orthogonal unifacial, multidirectional multiplatfom, and volumetric methods. The Levallois method is rarely represented. Discoid and centripetal cores display the greatest size ranges, while some core types are only found in small sizes. Additionally, there are differences in the utilized raw material forms among the different production methods. Thus, some of the variation in core reduction may be due to the application of similar methods on different raw material forms. Likewise, some methods may represent the final exploitation phases of other production methods. The application of different methods accounts for a certain degree of variability in flake form.
Some of the artefacts were retouched into tools, and these were also almost entirely made from local raw material. Scrapers predominate, but the proportion of notches and denticulates, Upper Palaeolithic types and retouched flakes are significant. Several tools were made by directly retouching natural pieces. Interestingly, some of the typological variation in the assemblages is accounted for by differences in original flake form. Tools are significantly larger than unretouched flakes in the assemblage. Additionally, several specimens suggest that finished artefacts were brought to the site.
Taphonomic processes significantly impacted the assemblage. Data on patination, frost damage. abrasion and edge damage suggest that artefacts were exposed on the surface for a long period. Furthermore, differences in the frequency of these surface alterations suggests that different parts of the assemblage experienced different amount of exposure to taphonomic processes. Thermal damage and trampling are responsible for fragmenting a significant proportion of artefacts. A small percentage of artefacts were exposed to fire, but there is no clear indication whether that was due to natural fires or from hominin activity. Particle-size analysis suggests that small-sized artefacts, i.e. those smaller than 15 mm have been selectively transported from the analysed area. Therefore, erosional processes, primarily overland flow, acting on a slightly inclined slope, resulted in the modification of the assemblage by systematically removing smaller artefacts downslope from the studied area.
A comparison with certain sites in the Adriatic region shows that, considering the average dimensions of the cores and the low degree of reduction, the flakes and tools from Campanož are relatively small in size. Furthermore, comparison with open-air sites from northern Dalmatia, some of which are associated with raw material sources, indicates that the flakes from the early reduction phases are somewhat underrepresented. These data suggest that some flakes, particularly larger specimens, were likely removed from the site, and these were often cortical. The practice of transporting flakes from the site corresponds to the strategy of provisioning individuals with tools. That type of strategy is indicative of residentially highly mobile groups, which rely on portable personal toolkits for performing activities in their daily lives. On the other hand, a comparison with other case studies of open-air sites located at raw material sources indicates a relatively high proportion of tools in the Campanož assemblage, which, together with the use of expedient production techniques, suggests that the source itself might have been inhabited.
The lithic assemblage of Campanož is interpreted as resulting from activities by residentially highly mobile Neanderthal groups, who used the source to supply their portable toolkits. During visits to the site, not only natural pieces of raw material were utilized but also the knapping waste from previous visits, as seen in the occurrence of recycled artifacts. In addition, raw material source sites could have been occupied occasionally, when the conditions were favourable. So far there is only evidence for the use of the local environment, within a range of up to 8 km. A preliminary model of possible environmental conditions in the Istrian karst peneplain during the Pleistocene in which the described system of environmental use would have been feasible is proposed, revolving around the sequential exploitation of resource concentrations around karstic wetland features. Also emphasized is the topographic uniformity of the area, which given the relative paucity of sites with strategic importance in monitoring animal movement, could have made open-air sites more attractive for settlement, including raw material sources. Finally, the paper emphasizes future perspectives for research on open-air Middle Paleolithic sites in the context of favourable geomorphological characteristics of the Istrian karst peneplain
The role and development of sound editing in Croatian cinema from the 1940s to the 1970s
No full textCilj ovog rada je historiografskim pristupom popratiti te analizirati razvoj i ulogu montaže zvuka u hrvatskoj kinematografiji od 1940-ih do 1970-ih u kontekstu dugometražnog igranog filma, kako bi se pružio detaljan uvid u dostignuća i umjetničku praksu ove važne, a uglavnom zanemarene, filmske djelatnosti. Za bolje razumijevanje profesije montaže zvuka, i konteksta njenog nastanka, rad počinje povijesnim pregledom metoda i praksi ozvučavanja nijemog filma u američkoj kinematografiji, a potom daje komparativan pregled praksi hrvatske kinematografije. Već u razdoblju nijemog filma izdvaja se uporaba govora, šumova i glazbe, elemenata koji će stvarati zvučnu sliku budućeg zvučnog filma. Prvi zvučni filmovi projicirani su korištenjem različitih sustava, no prevladat će sustavi u kojima se slikovni i zvučni zapis filma nalaze na jednoj vrpci što će predstavljati temelj za razvoj profesije montaže zvuka. Zbog iznimno skromnih tehničkih i financijskih uvjeta hrvatske kinematografije, profesija montaže zvuka, u kontekstu dugometražnog filma, izdvojit će se u zasebno zanimanje tek krajem 1940-ih. Analizom zvučne slike svih dugometražnih igranih filmova nastalih između 1944. i 1970. (82 filmska djela) prati se razvoj montažnih postupaka na razini zvučne slike, sve do dosezanja visokog standarda profesije, što je omogućilo institucionaliziranje obrazovanja za montažu zvuka (ali i slike) osnivanjem Odsjeka montaže 1969. na ondašnjoj Kazališnoj akademiji na kojem će praktičnu nastavu voditi iskusni filmski montažeri s velikim znanjem i bogatim iskustvom koji će obrazovati iduću generaciju filmaša.The aim of this work is to historically track and analyse the development and role of sound editing in Croatian cinema from the 1940s to the 1970s in the context of feature-length fiction films, in order to provide a detailed insight into the achievements and artistic practices of this important but often neglected film profession. To better understand the profession of sound editing and the context of its emergence, this work begins with a historical overview of the methods and practices of sound accompaniment in American cinema during the silent film era, followed by a comparative analysis of practices in Croatian cinema. Even during the silent film era, the use of speech, sound effects, and music, elements that would create soundscapes of future sound films, was notable. The first sound films were projected using various reproduction systems, but the system where both the visual and audio segment of the film were on a single filmstrip would ultimately prevail, laying the foundation for the development of the sound editing profession. Due to extremely limited technical and financial resources, Croatian cinema in the 1930s regularly produced only commissioned and promotional films in which the sound was shaped during synchronization. The beginnings of the sound editor profession in Croatia are closely tied to employment opportunities, greatly aided by the establishment of the first film companies and eventually the Jadran film studio, which resulted in the production of the first feature-length fiction film in 1944, marking the start of continuous film production. The first use of the title sound editor in the context of feature-length fiction films is documented in the credits of the film Zastava in 1949. Despite the establishment of technological conditions and the development of post-production systems and tools in Croatian cinema, a major challenge was the education of film professionals for working with sound film. Sound editors predominantly educated themselves for their profession through apprenticeship under more experienced colleagues and learned through practice, later supplemented by various workshops and courses. The practice of apprenticeship for work on early sound films was a dominant form of education in other countries as well. Education for film editors (both sound and picture) became institutionalized in 1969 with the founding of the Editing Department at the today’s Academy of Dramatic Art, University of Zagreb. The continuous production of feature-length fiction films, noticeable from the 1950s onwards, allowed for the tracking of the development of the sound editing profession. Over the coming years and through film soundscapes analysis, it becomes evident that editing techniques became more diverse with various distinct solutions adopted, specific editing methods became integrated into the soundscapes of future films, the dramaturgy of soundscapes became more complex, and the overall believability of the soundscapes was achieved not only occasionally but consistently throughout the entire film. A significant turning point in achieving synchronization, which is essential for creating convincing soundscapes, is represented by the film Tko pjeva zlo ne misli (1970), in which it is noticeable that all scenes were recorded with sound, unlike the previous practice where certain scenes (mostly shot outdoors) were recorded without sound. The end of the 1960s marked the attainment of a high standard in the sound editing profession (and picture editing profession as well), making it possible to establish the Editing Department at the former Academy of Theatre Arts, where practical artistic class teachings were led by experienced film professionals with extensive knowledge and experience, capable of educating the next generation of filmmakers. However, due to limited spatial, material, and performance capabilities, the Editing Department did not offer specialization in the field of sound editing, which was only made available to students with the launch of the graduate study program in Sound Design (in the academic year 2007/2008). The soundscapes of Croatian feature-length fiction films up to the 1970s were defined by only a few sound editors (Lidija Jojić, Tea Brunšmid, Živan Cvitković). They distinguished themselves through their work, innate affinities, and the determination and patience to find solutions and methods suitable for each film, thereby advancing their profession while maintaining professional standards. Their work, as well as the work of film picture editors, represents an unfairly neglected area of research, research in film studies, and expert theses, and this work aims to partially correct this omission
Late antique community on the border of Pannonia and Noricum on the example of pottery finds from Lobor
No full textU doktorskom radu primarno je analizirano kasnoantičko keramičko posuđe s položaja Majka Božja Gorska i Pavlova pećina u Loboru. Ono je identificirano, klasificirano, katalogizirano i interpretirano u kontekstu njegovog nalaza unutar kasnoantičkog visinskog naselja i u svezi s njim. Osim kasnoantičkog, zabilježena je i manja količina ulomaka antičkog keramičkog posuđa koja dokazuje da taj položaj nije bio posve napušten ni tijekom razdoblja od 1. do 3. st. Unatoč tome, mnogo veća količina kasnoantičkog keramičkog posuđa od 3. do 6. st. potvrđuje da se revitalizacija kasnolatenske gradine, odnosno osnutak kasnoantičkog visinskog naselja u Loboru treba datirati nakon sredine 3. st. Najkasniji identificirani primjerci kasnoantičkog keramičkog posuđa mogu se datirati u prvu polovicu 6. st., a nisu pronađene posude koje bi se mogle sa sigurnošću datirati nakon toga vremena, unatoč tome što analize C14 pokazuju da je visinsko naselje spaljeno oko 580. god. Najveća količina ulomaka kasnoantičkog keramičkog posuđa može se datirati u 4. i prvu polovicu 5. st. Zabilježene su skupine uvoznog mediteranskog, regionalnog i lokalno proizvedenog keramičkog posuđa, a prema sadašnjem stanju istraživanja, nisu zabilježene skupine za koje bi se moglo sa sigurnošću tvrditi da su neromanskog podrijetla. Kasnoantičkom finom keramičkom posuđu pripisano je glazirano keramičko posuđe, posuđe s prevlakom, s uglačanim ukrasom i redukcijski i oksidacijski pečeno posuđe, a grubom sitnozrnato i krupnozrnato posuđe. Tipološko-kronološkom i kvantitativnom analizom ukupnog spektra kasnoantičkog keramičkog posuđa, kao i pojedinih skupina, daje se interpretacija prostornog uređenja visinskog naselja u Loboru, ali i dijela svakodnevnog života kasnoantičkog stanovništva noričko-panonskog graničnog područja, kojemu je pripadao loborski prostor, koji se odnosi na proizvodnju, distribuciju, korištenje i odbacivanje keramičkog posuđa.The lack of a large amount of pottery sherds dating from the 1st to the middle of the 3rd century at the site of Our Lady of the Mountain indicates that the population did not live there permanently during that period. After the establishment of peace and the organization of the Roman administrative authority, the population no longer needed to live on the hilltop and moved to the valley where a settlement with a necropolis was organized. It is not possible to give a precise answer to the question about the function of the hilltop site after the population moved to the valley. The first possibility is that part of the population still remained on the hilltop and lived there in a small, rural settlement of wooden houses, of which almost nothing has been preserved, except perhaps a few post holes that were not destroyed by medieval and modern graves. If, however, the population of the hilltop had completely abandoned their residence there, the possibility of retaining a cult place there remains. There is no evidence that the Late La Tène or perhaps Early Roman building beside the Early Christian complex was used for housing, as no significant amount of pottery was found there. More specifically, regarding the Romanization period, no large amount of pottery was found that could confirm that the hilltop was used as a settlement. Nevertheless, the pottery that has been found and can be dated to that period belongs to fine pots that may not be the pinnacle of Roman pottery, but for a settlement geographically isolated and therefore less connected to the rest of the Romanized part of the Noric-Pannonian border area, those finds are quite significant, even in the fragmented state in which they are. Fragments of thin-walled pottery, slipware, so-called eggshell ware and face pots belong to this period. The complete absence of fragments of coarse pots of the Late La Tène period tradition with a surface combed with vertical, slanted or irregular strokes is also significant, and this situation may indicate that the hillfort was really only a cult area where offerings to pagan deities were brought in fine tableware. This could be confirmed by the face pot fragment that are sometimes associated with pre-Roman beliefs, as well as the positions where earlier Roman pottery was found. All fragments of thin-walled pottery, slipware, face pots, etc. were found in trenches around the present-day church and early Christian church complex, i.e. around a potential earlier pagan sanctuary. Of the coarser pots that can be attributed to the 1st and 2nd century, only very small fragments of a relatively fine fabric can be singled out with certainty, decorated with short strokes with a small comb that sometimes overlap. For the earlier Roman period in Lobor, the find of Trajan's sestertius is also significant, which, together with a bowl of thin-walled pottery of probably Siscian production, is one of the earliest finds at the site of Our Lady of the Mountain, although there is a possibility that it was in later use. If Trajan's coin from Lobor is indeed of a later date, the thin-walled pottery bowl is the earliest confirmed find of Roman pottery in Lobor. Although it is attributed to Siscian production, based on the discovery of one bowl, it cannot be claimed that the process of Romanization arrived from the south, especially since the Lobor area has been connected with the area northwest of it since at least the Late Bronze Age, if not earlier. As it seems according to the current state of research and the analysis of pottery, life returned to the hillfort to a greater extent in the second third or maybe even the second half of the 3rd century. It is possible that the return of the population to the hillfort did not take place during a shorter period, but the findings of pottery suggest that. The number of vessels that can be attributed to the time around the middle of the 3rd century is greater than the number of those dated to the 1st and 2nd century, and in addition, the distribution of fragments of this later ware is no longer concentrated around the present-day church, but extends to the northern plateau and the area along the northern rampart. There are several fragments of relief terrae sigillatae that can be attributed to the Rheinzabern workshops and dated to the second half of the 2nd or the first half of the 3rd century. The only fragment of a Faltenbecher type cup can be dated from the end of the 2nd to the third quarter of the 3rd century. In this later group of early Roman pottery, Pannonische Glanztonware fragments are the most numerous. Although the sherds were not found in a closed context, based on analogies they are dated from the first quarter of the 2nd to the end of the 3rd century. It is indicative that the group of tableware that is dated at the latest is also the most common of the earlier Roman pottery. The largest number of Roman coins found at the site of Our Lady of the Mountain in Lobor can be dated from the middle of the 3rd century onwards. Those include all Roman coins except for the aforementioned Trajan's sestertius and the perforated sestertius of Maximinus I of Thrace, which was obviously in secondary use in a later period. Taking into account the dating of the coins and the group of pottery that appeared in the middle or second half of the 3rd century and whose quantity also increased significantly after that period, primarily glazed pottery, it can be determined with considerable certainty that life returned to the late La Tène hillfort immediately after the middle of the 3rd century and that the Late Antique hilltop settlement in Lobor was established. It is not excluded that the refugial character of the position of the Lobor hillfort was used earlier, perhaps during the Marcomannic Wars, but there is no evidence for this so far. A large amount of tableware cannot be attributed to that time, and certain types, such as unglazed mortars, are completely missing. In addition, there are no finds of Roman coins or other objects that can certainly be attributed to that time and interpreted in favor of a shorter settlement during the uncertain times of the second half of the 2nd century. The significant increase in the amount of pottery and the presence of almost all groups of pottery from the middle of the 3rd century, which are facts that indicate the permanent character of the hilltop settlement in Late Antiquity, could be connected with the turbulent times of the so-called crisis of the 3rd century. The beginning of that crisis period can be connected to the latest dated fragments of tombstones found as spolia at the site of Our Lady of the Mountain, as well as the stelae of Marcus Cocceius Superianus and Valerius Lucilianus found in the center of today's Lobor. It seems that since that time, the deceased are no longer buried in the necropolis of the lower settlement in Lobor, but in a so far unknown location, probably closer to the hilltop settlement, and later next to the early Christian complex in the center of the hilltop settlement. The discovery of graves on the artificially formed elevation north of the shrine of Our Lady of the Mountain did not result in a sufficient amount of pottery fragments that could confirm the position as a Late Antique cemetery, despite the discovery of one bone comb and the foot of a glass cup. The number of pottery fragments is negligible and there are no diagnostic sherds. As it seems so far, the abandonment of the permanent settlement in the valley along the Rieka stream and the establishment of the hilltop settlement was probably not only connected with the threats to the Roman population from the barbarian groups from the other side of the Danube, but also with the general state of insecurity during a greater part of the 3rd century. Late Antique glazed pottery marks the period from the second half of the 3rd to the middle or second half of the 5th century. Although it represents only 2.57% of the Late Antique pottery sherds, which is not an unusual number for sites far from the major workshop centers on the Danube or in northern Italy, glazed pottery represents a group in which almost all basic types and methods of decoration are represented. The bowls, plates, cups, bowls with handles and jugs belong mostly to tableware and mortars to kitchenware. Decorative motifs include grooved single and combed horizontal lines, single and combed undulations, small triangular, rectangular and irregular motifs made by rouletting, notches and oval motifs made with a sharp or rounded object on the rim, notches made using the chattering technique, stamped concentric circles, modeled wavy rim, and sometimes there are combinations of two decorative motifs. The decoration was sometimes carried out by painting with a red slip in the form of flames and flower petals, and the exteriors of several glazed bowls were decorated with burnished horizontal lines. Mortars decorated with slip painting and bowls with burnished horizontal lines, as well as related examples of glazed pottery with an intense olive green or yellow green glaze combined with red slip without a pattern should probably be dated earlier, to the second half of the 3rd and the first half of the 4th century, and glazed pottery of simpler forms, duller glaze and slip color if it was applied, and generally glazed pottery of poor glaze quality could be dated to the later period of the second half of the 4th and the first half of the 5th century. No examples of glazed pottery have been identified that could be could be dated only to the second half of the 5 th or even the 6th century, which is also a problem with other groups of Late Antique pottery from Lobor. Considering the theory about local workshops of glazed pottery, which has not yet been confirmed by field research, it was not possible to determine the workshop origin of the glazed pottery from Lobor, but based on the variety of fabrics, firing techniques, glaze and slip colors and methods of decoration, it is very likely that this glazed pottery originates from several workshops that were probably not located in the immediate vicinity of the hilltop settlement in Lobor. If such a workshop had existed nearby, the glazed pottery from Lobor would have been much more uniform, and there would have probably been fragments of tableware sets that have not been recorded so far. According to that and on the basis of analogies from the NoricPannonian border area, the origin of the glazed pottery from Lobor should be sought at the regional level in several workshop centers or smaller workshops. Unlike glazed pottery, slipware cannot be associated only with Late Antiquity, as is evident from the finds of thin-walled pottery, and rare examples remain almost until the end of late antique hilltop settlement and represent some of the latest late antique objects found in Lobor. In addition to thin-walled pottery, this group of pottery also includes terra sigillata, Pannonische Glanztonware, but also vessels of late antique forms with slip in shades of red and gray, which for the most part correspond to the forms of late antique glazed pottery. Simple oil lamps with a handle also appear in this group. Some of the reduction-fired jugs with a dark gray slip are similar in forms to jugs with burnished decoration and simple reduction-fired jugs without slip or processed surface. Considering the correlation of this group, most of the slipware, apart from the earlier groups of the 2nd and 3rd century, should be dated from the second half of the 3rd to the middle or second half of the 5th century. Here, the group of shallow bowls or deep plates that imitate North African red slipped pottery, specifically the form Hayes 61a and its variant Hayes 61a trans. Although the fabric, firing technique and slip quality are completely different, the orm of some examples is completely identical to North African examples and should be dated from the middle of the 4th to the middle of the 5th century. Although they do not represent original North African products, they appeared in the Noric-Pannonian at the height of North African import to the area in the 4th and 5th century and certainly belong to regional production, probably from the northern Italy that had the most contact with overseas areas such as North Africa and the Eastern Mediterranean. Original North African and Eastern Mediterranean ware was recorded only around the end of the 5th century. An undecorated fragment of an ARSW conical bowl of the Hayes 87 or 88 form and a fragment of a North African oil lamp of the Hayes II/Atlante X form decorated with triangle and palmette motifs, as well as an undecorated fragment of an Eastern Mediterranean LRC form Hayes 3E bowl were found in Lobor. The North African sherds can be dated to the end of the 5th or the beginning of the 6th century, and the Eastern Mediterranean to the last quarter of the 5th and the first quarter of the 6th century. Given the small number of fragments of Mediterranean pottery and the fact that earlier forms, which would belong to the period of more intensive import to the Noric-Pannonian area, were not found, so far it should be assumed that they were personal property that was probably brought to Lobor at the beginning of the 6 th century, and not objects of trade between the Mediterranean and the Lobor area. Perhaps their find in Lobor was connected to the relocation of part of the population from the territory of Poetovio, or it was even connected with the withdrawal of part of the population from Noricum Ripense. If this was indeed the case, it would confirm the gathering and refugial role of the fortified hilltop settlement in Lobor, which at the beginning of the 6th century was obviously an important church center where the early Christian complex with a church and a baptistery and possibly other churches was expanded and renovated. The assumption was that the hilltop settlement in Lobor certainly gathered the population of today’s Zlatar valley in unsafe periods, the population which usually lived on farms and settlements similar to the villa in Gornja Batina. The finds of imported Mediterranean tableware confirm that the settlement in Lobor also received residents of probably higher ranks from the threatened settlements of Noric-Pannonian border area. Although early Christian motifs, which are otherwise common, were not preserved on the mentioned imported pottery due to the high degree of fragmentation, it cannot be ruled out that the pottery was brought as part of the household of the Bishop of Poetovio, who is sometimes associated with the construction of the early Christian complex in Lobor, and perhaps with his stay in to an unexplored building on the south side of the site of Our Lady of the Mountain. As for the later forms of imported Mediterranean pottery, they have not been found in Lobor so far, so the question about the end of life in the hilltop settlement cannot be answered solely on the basis of pottery finds. Burnished pottery and pottery with burnished decoration from Lobor belong to the 4th and 5th centuries. A smaller part of that group of pottery belongs to open-shaped vessels, mostly bowls, decorated exclusively with polished horizontal lines, often on both sides of the vessel, for which the closest analogies were found in the Danube area of the eastern Noricum Ripense. Based on these analogies, the dating of the Lobor specimens of this group is placed from the middle of the 4th to the middle of the 5th century. Another group of the pottery with burnished decoration can be connected with the Pannonian part of the Danube limes, where three groups appear based on technological, typological and decorative characteristics. By analyzing these characteristics, the examples from Lobor were placed in the first two groups and dated from the middle to the end of the 4th century in the case of the first group and to the last quarter of the 4th and the beginning of the 5th century in the case of the second group. No fragments were found that could be attributed to the third group. It is possible that, due to the distance from the Danube, the immediate danger and the influence of barbarian groups, with the presence of which the appearance and popularity of this group of pottery is at least partially connected, the dating of the pottery with burnished decoration from Lobor should be extended and that at least until the end of the 5th in the workshops from which this pottery was procured for the hilltop settlement in Lobor, the proven production technology known from older potters was used. It is certain that one cannot expect exactly the same fabrics as in the workshops on the Danube or other larger production centers in Pannonia, and the situation is similar as with glazed pottery and slipware. The variety of fabrics and firing techniques points to several workshops from which the population of Lobor procured pottery of this group. What is perhaps surprising about this group, which is linked to the influence of barbarian groups, is that in Lobor it was not found in combination with stamped pottery. Not a single fragment with stamped decoration typical for the 6th century has been found so far. According to the current state of research, this should mean that the Lobor area was not under the direct influence of the Lombards, although it is sometimes placed on the eastern edge of the so-called Pólis Norikón. Based on the absence of stamped pottery, it is not possible to determine whether this means that in the middle of the 6th century the hilltop settlement in Lobor was already abandoned or at least that the number of inhabitants was significantly reduced, or whether this only happened in the last quarter of the 6 th century, to which the burned layers in the baptistery and on the late antique rampart were dated. There are only a few items from Lobor that can be dated to the period between the latest dated form of pottery and the date of the burned layer. These are objects from grave 50 and a buckle part from a destroyed grave that can be dated to the first half of the 6th century and an S-fibula of the Várpalota-Vinkovci type dated to the second third of the 6th century. They may also be joined by fragments of imported Mediterranean vessels if they were really transferred from another settlement and remained in use for a longer time. The least amount of information about the late antique community in Lobor was provided by reduction- and oxidation-fired fine pottery. The types are related to those of the groups of glazed pottery, slipware and pottery with burnished decoration. Reduction-fired fine pottery is typologically more closely related to the pottery with burnished decoration, and oxidation-fired fine pottery to glazed pottery and slipware. This group includes interesting and rare examples of stamped pottery, which differ from the 6th century stamped pottery according to their fabrics and decorative motifs and clearly belong to an earlier time. There are two fragments of oxidation-fired jugs or pots with stamped concentric circles, which are a typical late antique motif, while another example is decorated in a more complicated way. It is a fragment of an oxidation-reduction fired vessel of large dimensions, which was decorated on the outside with a combination of a stamped rosette, arc motifs made by double rouletting and an applied twisted band. An analogy for this last example should probably be sought in the area of western Noricum Mediterraneum, but in the group of coarse pottery, which in that area is generally more elaborately decorated. Although one of the assumptions was that the final phase of life in the hilltop settlement in Lobor could be explained using the results of the analysis of coarse pottery, it shows that simple, long-lasting forms of pots, jugs, bowls and
Connections between Croatian and Italian painting between 1872 and 1919
No full textOva disertacija istražuje i izdvaja komponentu talijanskih elemenata u slikarstvu hrvatskih autora u zadanom razdoblju od ostalih srednjoeuropskih utjecaja. Njihovo međusobno razlikovanje, kako će se tijekom razrade pokazati, nije uvijek jasno razgraničeno te zahtijeva priznavanje difuzne naravi nijansi u prijelazima. Ova je činjenica rezultat višestrukih čimbenika: od važnosti kulturne razmjene između Italije i prekoalpskih zemalja, koja se odvijala kroz nekoliko različitih kanala, do povijesne uvjetovanosti povezanosti dijelova sjeverne Italije s Austrijom te, konkretno, s austrijskom upravom. Uže područje rada sačinjavaju dijelovi opusa hrvatskih slikara, koji su nastali u, izravnom ili posrednom, kontaktu s talijanskim kulturnim krugom u razdoblju od 1872. do 1919. godine. Kao početna granica ove disertacije uzete su 1870-te godine jer označavaju odlazak prve trojice predstavnika hrvatskog slikarstva: Ferdinanda Quiquereza, Izidora Kršnjavoga i Nikole Mašića, s Akademije u Münchenu na putovanje u Italiju prema ruti: Venecija, Rim, Napulj (Capri). Završna 1919. godina označava kraj prvog razdoblja izložbi Proljetnog salona (1916.–1919.), kao prijelazni period koji je omogućio snažniji modernistički zamah ostvaren nakon rata te je označen ispreplitanjima jugendstilskih “zaostataka“ i naznaka avangardnijih pristupa u umjetnosti. Cilj istraživanja je obrada i interpretacija segmenta hrvatskog slikarstva 1872.–1919. na osnovi njegovih poveznica s talijanskim kulturnim krugom, koji do sada nije bio sustavno obrađen niti interpretiran, pri čemu su uporabljene uvriježene metode povijesti umjetnosti: formalna, komparativna i ikonografska analiza pojedinih djela, problemi stila i tipologije, terenski rad, proučavanje arhivske građe i objavljene literature. Smatramo da će se sagledavanjem situacije iz ovoga kuta doći do novih spoznaja o pojedinačnim opusima autora, ali i o cjelini ovog važnog segmenta hrvatskog slikarstva.Italy of the 19th and early 20th century is characterised by the specific artistic legacy, as well as a specific relationship towards modernism, that is a constant subject of research in international publications end exhibitions. Its cultural role as the unavoidable destination in the context of the phenomenon of the Grand Tour is markedly important, especially during the course of the 19th century. Travels of the Italians to the European countries north of Alps, as well as the numerous visits and stays of the foreigners in Italy (which would occasionaly turn into permanent residence) contributed to the formation of a vibrant Italian artistic scene in a complex exchange of experiences. While acknowledging Italian specific characteristics and contributions to the European artistic scene, it is nevertheless important to recognise its interweaving with the Mediterranean and (Middle)European traditions, especially those of the French, Austrian and German provenance. The aforementioned was facilitated by historical circumstances, such as the sporadic Austrian government over certain parts of northern Italy. The painter Giovanni Segantini played an especially prominent role in connecting Italy with the rest of Europe due to his extreme popularity and international presence. The establishment of international exhibitions, such as la Biennale di Venezia in 1895, brings new impetus to this interchange. Traditionally strong connections between Italy and Croatia, especially its maritime area, lose its intensity after the fall of the Republic of Venice in the year 1797. However they do not disappear altogether. Although Croatian artists were trained predominantly at the Academies in Vienna and Munich at the time, Italy was their third important destination chosen over two reasons: firstly for the reasons of direct training at the Italian Academies, and secondly as the destination of the European trend of travel to Italy, as the land of classical heritage, natural beauty and specific quality of southern light. Additional historical connection between the two countries was constituted by the fact of the joint Austrian government over Croatia and north Italian regions of Trentino and parts of Friuli-Venezia Giulia by the end of World War I, as well as Veneto during the periods from 1797 to 1805 and from 1815 to 1866. It is important to take notice of the fact that one of the most prolific and vibrant artistic centres of the period, Paris was the rarest choice of Croatian 19th century painters. Connections between Croatian and Italian painting between 1872 and 1919 were realised within three different artistic tendecies of the European art at the turn of the 20th century: firstly the practice of the plein-air landscape study in Italy as preparation for studio compositions; secondly the different manifestations of symbolism; and lastly the inclinations towards avanguard components in the painting of the early 20th century. The book Corot in Italy: Open-Air Painting and the Classical-Landscape Tradition written by Peter Galassi in 1991, as well as the exhibition In the Light of Italy: Corot and Early Open-Air Painting held in 1996–1997 in Washington related to it, proved to be the key in understanding the context of the plein-air study painting in Italy as preparatory work for grand studio compositions. It explaines how the tradition of the landscape and cityscape study in Italy founded in 1780s was codified by the Pierre-Henri de Valenciennes' influential 1800 treatise Elémens de perspective practique, à l'usage des artistes, suivis de Réflexions et conseils à un élève sur la peinture, et particulièrement sur le genre du paysage. Camille Corot’s Italian studies from the period between 1825 and 1828 represented the culmination in this strain of painting. Their purpose was didactic and their main characteristics were: painting in the open in direct study of nature, the effect of sketch due to the rapid brushstroke and spontaneous approach to painting, the use of oil technique usually on paper mounted onto cardboard, the codified topography of motifs following the ‘prescribed’ Italian itinerary, painting during summer months as well as the conscious choosing of the noon or more rarely early evening lighting, the choice to depict fragments of simple, anonymous, rural architecture or details of vegetation, for instance motifs of a tree or treetrunk. Although the tradition of plein-air study could be found elsewhere in Europe at the beginning of the 19th century, Italy was the key area at the turn of the 19th century where it flourished more intensly in the international context of artists and travellers from all around Europe. This was especially true of its regions around Rome and Naples. The significance of the ambiance of (southern) Italy for the history of the European landscape painting was noticed by the Croatian art critic Josip Pasarić in 1902. Seen in this light the relationship between the studio composition of the academic realism and spontaneous plein-air study painting becomes complementary. Galassi explains that the Scuola di Posillipo was formed in the Naples area during the second quarter of the 19th century as a provincial echo of the international school of painters in Italy practicing plein-air study. Moreover, it was founded by a Dutch, Anton Sminck van Pitloo. It formed the basis on which the later Neapolitan schools of painting in the second half of ottocento were built, enriching their expression further through contacts with the Florentine Macchiaioli and contemporary French painting. The next important Italian destination for Croatian painters was Venice. After a period of crisis it succeded in forming a unique expression through the synthesis of its distinctive tradition permeated by the artistic influxes from the rest of Italy and wider international contacts (especially after the establishment of the Venice Biennale exhibitions in 1895). Following the described complexity of the overall context the connections between Croatian and Italian painting should be evaluated in the elaborated terms of interdependences on wider European scene. Croatian painters Izidor Kršnjavi, Ferdinand Quiquerez, Nikola Mašić and Bela Čikoš Sesija set off to Rome and Naples from the Academy in Munich, where the tradition of the Italian journey was especially long cherished and formed an inseparable part of the education process. Their production of Italian plein-air landscape and cityscape studies should first and foremost be interpreted in the context of the tradition of the international school of painters in southern Italy established in classicism, onto which Italian ottocento schools of painting build upon. In Quiquerez and Kršnjavi the influence of Corot's legacy transformed through the painting of the Venetians Ippolito Caffi (more pronounced in Quiquerez) and Guglielmo Ciardi with his interpretation of the Macchiaioli and Scuola di Resina style of painting (more felt in Kršnjavi) can be discerned. Influences by Giacomo Favretto often mentioned in critique turn out to be nonexistent. In the painting of Nikola Mašić, on the other hand, within the same tradition connections to the Neapolitan painting of the second half of ottocento are more clearly articulated, namely those with: Filippo Palizzi, Mariano Fortuny, Francesco Paolo Michetti and Scuola di Resina. Key to the understanding of Mašić's painting however prove to be the painting of Filippo Palizzi. Just like Mašić, Filippo Palizzi enjoyed depicting animal world and was primarily a painter of genre scenes with occasional landscape studies done in macchia technique. Large part of Mašić's oeuvre after 1880 was formed by large scale Handtuchformats portraying genre scenes in accordance with Arcadian transformation of the legacy of Filippo Palizzi in the work of Francesco Paolo Michetti, alongside colouristic virtuosity and glitter of the embellished realism of the Catalan Mariano Fortuny y Carbò, who was also a protagonist on the Neapolitan scene of the second half of the 19th century. The introduction of the element of the modified legacy of Filippo Palizzi in combination with the fortunylike chromatics through interpretations of Francesco Paolo Michetti, as explained in the thesis, sets out a new context for the fortunismo of Nikola Mašić. Also, some examples of Mašić's painting, such as Slikar u bari (Painter in the marshes), 1878–80., Zatvorena vrata (Closed door) study, 1880., or a small detail depicting a flock of geese just above the water surface on the painting Guščarica na Savi (Goose Girl by the River Sava), 1880–81., display a speecific pennellata technique that creates vibrant surfaces in the manner of Antonio Mancini, whose painting is for the first time mentioned in connection to Nikola Mašić's production. Within this same prolonged classicist tradition of the landscape and cityscape study, less than two decades after Quiquerez, Kršnjavi and Mašić had sojourned there, Bela Čikoš Sesija also episodically embraced the premises of the southern Italian landscape and cityscape painting in the Neapolitan area. His plein-air landscape and cityscape studies with motifs focused on details, characterised by formal reduction and constructed relation of light and shadow build upon the traditions of the international school in Italy, Neapolitan and Macchiaioli painting. Inclination towards rural simplicity in the choice of motifs seen in the paintings of Bela Čikoš was also the legacy of the international school of painters in Italy, continued in the Italian realist ottocento painting all the way to the Postmacchiaioli era of the last quarter of the 19th century, the period of Čikoš's southern Italian soujorn. Nocturnal cityscapes which Čikoš sketches in Italy prove to be transitory towards symbolist painting. Although the tradition of the execution of studies in the lighting of the early evening is well documented in the history of the painting of the international school in Italy, as well as there are well known instances of nocturnal scenes in the context of the Italian ottocento painting of realist provenance, such as the cityscape of Naples by Adriano Cecioni, the painter that connected Florentine Macchiaioli and southern Italian Scuola di Resina, these studies by Bela Čikoš should be understood as an indication towards his later symbolist expression. The latter is affirmed by the choice of the subject of Pietà in a southern Italian study from the year 1893. Everything considered, we come to the conclusion that the Italian episode of Bela Čikoš should not be taken as a divergence in his oeuvre, but rather as a typical formation path of a 19th century painter, witnessed by the example of Arnold Böcklin, himself being a pivotal protagonist of the European symbolism, who spent much of his life in Italy where, among other things, he painted realist landscapes. As opposed to the landscapes painted in Italy, the post Italian landscapes by Bela Čikoš should be considered in the context of the German variant of 'impressionism'. The other important centre of the Italian realist tradition was Florence and the Macchiaioli. Vinko Draganja and Mato Celestin Medović were trained there. Apart from being a student of the Florentine Academy, key to intrepretation of Draganja's painting turned out to be a so far overlooked detail from his Autobiography of his friendship with the Italian painter Domenico Pesenti. Pesenti's oeuvre is directly comparable to that of Vinko Draganja during his Italian years. As shown in the thesis for the first time, the affinity in the choice of themes and motifs, as well as the composition and painterly approach, characterised by the transformation of the Macchiaioli legacy, within its marginal and belated echos and emphasising more pronouncely the narrative component of the painting, can be discerned. Also, while interpreting this kind of painting, the names of the Induno brothers, Domenico and Gerolamo from Milan (Pesenti was trained in Lombardy) with their continuance of the tradition of a specific genre painting should not be overlooked. Mato Celestin Medović spent a prolonged period of unsystematic training in Italy from 1880 till 1886. Within this scope of time, he also sojourned in Florence meeting Vinko Draganja there and studying at the private school of Antonio Ciseri. Traditionally Medović's Italian years and his artistic training there were not considered very important, but rather the major significance was given to his later Munich training. During the research for this thesis however, I came to conclusion that Medović's Italian experience was far more important than earlier presumed. Through the analysis of representative pieces of Medović's portraits and religious compositions clear connections to his Florentine teacher Antonio Ciseri can be seen. In addition to that, Medović's familiarity with the painting of of the 'Florentine Alma-Tadema', Giovanni Muzzioli turns out to be of outmost importance for his artistic expression, which has been noticed for the first time here. Muzzioli was a famous Florentine painter whose popularity reached its peak during Medović's sojourn in the city and whose painting was characterised by a hybrid amalgam of history painting and European tradition of plein-air and genre, especially that of the Macchiaioli provenance. In the first ever display of comparative analysis between Medović's and Muzzioli oeuvres, compatibility in the choice of themes and motifs, painterly approach and style is shown. Both painters treat representative history painting in a skillful academic manner, while the plein-air, landscape, cityscape and genre studies showcase free and sketchy pennellata with the simplified and reduced to essentials painterly approach. Especially interesting in their oeuvres is a special hybrid category of the so called 'historic genre' (generismo antichizzante / la pittura ‘di genere’ in versione greca e romana / la pittura storica di genere), in which figures in antique costume are arranged and added into directly studied plein-air landscape. The biggest surprise was the discovery of the formidable influence of the Italian painting on Bakanal from 1893 by Medović, the painting that has been firmly and unanimously considered as the crown jewel of Medović’s Munich training and was previously almost exclusively connected to the style of painting of Karl Theodor Piloty. There were however some early examples in the Croatian art writings considering the compatibility between Medović’s emblematic painting and Muzzioli’s Al Tempio di Bacco from the year 1881. Ljubo Babić accused Medović of plagiarism, while Vera Kružić-Uchytil and Igor Zidić stood up for the Croatian painter. The first ever detailed analysis presented in the thesis confirms significant parallels in composition and style with the selected examples of Giovanni Muzzioli’s painting, as well as sets out a completely novel observation about the affinities with the Antonio Ciseri’s painting Il Martirio dei Maccabei, 1858.–1863. The analysis further brings us to the conclusion that in Medović’s Bakanal we are not dealing with the act of plagiarism, to use the words of Ljubo Babić, but rather with a legitimate reinterpretation of the existing models transformed through Medović’s specific semantics that imbues the painting with the possible meaning of social criticism. All taken into consideration, key to the interpretation and understanding of the work of Vinko Draganja and Mato Celestin Medović turn out to be the Postmacchiaioli context of Florence of the 1880s and oeuvres of the Italian authors Domenico Pesenti and Giovanni Muzzioli, whose art transforms the Macchiaioli legacy in a hybrid painting that combines modern principles of the Tuscan heritage with the narrative and historic elements in an academic manner. In addition, Medović’s Italian teacher Antonio Ciseri turns out to be far more important for his painting than it was earlier supposed. Historically the Croatian coast was strongly connected to Venice, which underwent an identity crisis of sorts after the downfall of the Republic of Venice in 1797. Following the unification of Italy in 1866, ties between Venice and the other Italian cities became ever stronger and through these contacts Venetian artists worked with new experiences, modifying them through the filter of the Venetian specific tradition creating a particular and characteristic synthesis. Almost simultaneously, Josip Lalić and Emanuel Vidović set off to Venice for artistic training. They spent the second half of the 1880s and the first half of the 1890s there, and Vidović would revisit the city on a lagoon continuously throughout his life. Both painters were formed there through the initial cityscape and landscape painting of the combined Venetian and Macchiaioli inspiration. Soon they left for a short sojourn in Milan, from where Lalić departed for Paris and Vidović returned to Venice of his destiny. Early phase of Emanuel Vidović's painting depicting cityscapes of Venice and Chioggia is characterised by the Macchiaioli inspiration transformed by Venetian tradition. Rather poorly documented biography and curriculum vitae, which has been reconstructed with the help of archival materials and literature for purposes of this research, limit our understanding of the oeuvre of Josip Lalić. Our interpretation of the latter is based on the examples of paintings from Croatian and Italian collections. In the Roman museums Galleria Nazionale d'Arte Moderna e Contemporanea di Roma and Galleria Comunale d'Arte Moderna e Contemporanea di Roma fourteen paintigs by Josip Lalić (with the additional three that were destroyed presumably due to a Second World War bombing) were discovered during the course of this research and were subsequently presented to the Croatian community of art historians. The analysis has shown that the early painting by Josip Lalić, it would seem, could be compared to Emanuel Vidović’s early works. In both cases we are dealing with small formats of realist landscapes and citiscapes and, with Lalić especially, genre scenes from the everyday life in the city. They were painted in the combined Venetian and Macchiaioli tradition of free pennellata and sketchy approach often depicting Venetian canals (especially in Vidović). Basic Venetian connections with their painting are found in the work of Ippolito Caffi and contemporaries Bartolomeo Bezzi, Pietro Fragiacomo and especially Guglielmo Ciardi, and in the case of Josip Lalić also Alessandro Milesi. Often propounded as Vidović’s Venetian model, the painter Giacomo Favretto does not turn out to be the key connection of reference in interpreting Vidović’s early painting. The painting of Ante Katunarić, who frequented the Academy in Rome during the period from 1892 till 1896, was formed through contacts with Emanuel Vidović during their joint year long stay in Chioggia in 1897. Virgil Meneghello-Dinčić is also mentioned in the context of these artistic sojourns in Venice and Chioggia together with Vidović and Katunarić. His painting of this period is however completely lost and for this reason was not presented in this chapter. As far as Ante Katunarić is concerned, his painting of the period is formed in relation to Emanuel Vidović, but the dispersion of the artist’s interests resulted in a significantly lower artistic quality of his work. Just as with Emanuel Vidović and Josip Lalić, here too we are dealing with the basic Venetian inspiration, Guglielmo Ciardi above all, combined with that of the Tuscan legacy of Macchiaioli. In Katunarić’s work however more pronounced influences of French painting can be felt, which should be understood in the context of Postmacchiaioli atmosphere that synthesised the Macchiaioli and French Impressionists legacy. Also, one shou
Efekt stranog jezika pri svakodnevnom moralnom odlučivanju
No full textThe moral foreign language effect (FLE) is a term that refers to differences in the outcomes of the moral decision-making process depending on whether the process was conducted in the native language or in a foreign language. This study focuses on the FLE in the field of moral decisionmaking and aims to develop new moral dilemmas that describe realistic situations that an average person might encounter in his or her daily life. Next, the goal of the current research was to examine whether the magnitude of moral transgression and L2 dominance affect the magnitude of moral FLE. Another goal was to gain more nuanced insight into the mechanism of moral FLE. To this end, the CNI model of moral decision making was used. Finally, this is the first study in the field to test moral emotions as mediators of the relationship between the language in which moral dilemmas are presented and concern for moral norms and for consequences. We expected that participants in the non-dominant language condition would make more utilitarian decisions than participants in the dominant language condition. We also expected that participants in non-dominant language condition would have less regard for moral norms and consequences. We expected all of these differences to be larger for moderate moral transgresions than for mild or severe ones and to be larger as L2 dominance decreased. Finally, we expected that reading moral dilemmas in a less dominant language will lead to weaker activation of moral emotions, which in turn would lead to lower concern for both moral norms and consequences. In two experiments with participants from two different cultures and in three different language pairs, the newly constructed moral dilemmas proved to be valid. Otherwise, our hypotheses were generally not supported. Although the results were not in line with the expectation, the results suggest that future research should consider language dominance in addition to language proficiency, as non-dominant languages with different degrees of dominance were found to affect concern for norms and concern for consequences in different ways. The results also suggest that it would be useful to develop new moral dilemmas to include even more serious moral transgressions.Uvod: Efekt stranog jezika odnosi se na razlike u ishodima procesa donošenja odluka ovisno o tome odvija li se on na materinskom ili stranom jeziku. Ovo istraživanje bavi se efektom stranog jezika u domeni moralnog rezoniranja. U tom kontekstu, efekt se najčešće opisuje kao veća učestalost odgovora u skladu s utilitarnim načelima (naglasak je na tome da se postigne najveće dobro za najveći broj ljudi) na stranom nego na materinskom jeziku. S obzirom na to da je jedan od najčešćih prigovora istraživanjima u ovom području to da se u njima u pravilu koriste moralne dileme koje opisuju nerealistične situacije u kojima je potrebno odlučivati o životima drugih ljudi, a to za posljedicu ima upitnu vanjsku valjanost rezultata istraživanja (Bauman et al., 2014), prvi cilj ovog rada je razviti novi set moralnih dilema koje opisuju realistične situacije s kojima bi se prosječna osoba mogla susresti u svom svakodnevnom životu. U novije vrijeme, sve više istraživanja u ovom području bavi se pitanjem koji su to faktori koji utječu na veličinu efekta stranog jezika. Jedan od tih faktora je emocionalnost moralnih dilema. U ovom istraživanju emocionalnošću dileme manipulirat će se kroz veličinu moralnog prijestupa koji dilemma problematizira. Osim toga, puno je pažnje bilo usmjereno na to kako razina poznavanja stranog jezika utječe na veličinu efekta stranog jezika (npr. Costa et al., 2014b). Pritom se čini da je efekt to manji što sudionici bolje znaju strani jezik. Ipak, efekt se ne može pripisati neadekvatnom razumijevanju stranog jezika, a rezultati nekih istraživanju upućuju na to da bi dominantnost stranog jezika, odnosno važnost koju strani jezik ima u svakodnevnom životu sudionika mogla biti faktor koji je važniji od toga koliko dobro sudionici znaju strani jezik (npr. Čavar i Tytus, 2018). U skladu s time, cilj ovog rada je i ispitati utječu li veličina moralnog prijestupa i dominantnost stranog jezika na veličinu efekta stranog jezika. Nadalje, cilj je i dobiti uvid u to koji je mehanizam u podlozi efekta stranog jezika. Različiti autori spekuliraju o tome kako bi efekt mogao biti rezultat toga što su moralne norme teže dostupne na stranom nego na materinskom jeziku ili pak toga što je zahtjevnije procesirati strani nego materinski jezik pa je na njemu i teže posvetiti se detaljnoj analizi koja bi odgovorila na to koji će postupak osigurati najveće dobro za najveći broj ljudi. Oba objašnjenja mogu vrijediti i istovremeno. Kako bismo mogli zaključiti koje je od potencijalnih objašnjenja efekta stranog jezika vjerojatniji, koristit će se CNI model moralnog odlučivanja (eng. Consequences, norms, and generalized inaction model of moral decision-making) koji omogućava izračunavanje tri parametra koji odražavaju brigu za posljedice (C), brigu za moralne norme (N) i preferenciju prema (ne)djelovanju (I). Konačno, iako se potencijalna objašnjenja efekta stranog jezika redovito temelje na ideji da je strani jezik manje emocionalan od materinskog, istraživanja u kojima su se doista i mjerile emocije su vrlo rijetka. Ovo je prvo istraživanje u kojem su mjerene specifično moralne emocije (Haidt, 2003), koje bi mogle biti posebno relevantne u kontekstu moralnog odlučivanja. One su testirane kao medijator odnosa između jezika na kojem su moralne dileme prezentirane i brige za posljedice te brige za moralne norme. Očekivali smo da će efekt stranog jezika biti prisutan kada se kao podražajni materijal koriste moralne dileme koje opisuju situacije s kojima bi se prosječna osoba mogla susresti u svakodnevnom životu. Drugim riječima, očekivali smo da će sudionici kojima su moralne dileme prezentirane na nedominantnom jeziku donositi više utilitarnih odluka nego sudionici kojima su iste dileme prezentirane na dominantnom jeziku. Iako smo očekivali da će efekt stranog jezika postojati kod svih veličina moralnih prijestupa i u svim parovima jezika, očekivali smo da će efekt biti veći kada je riječ o srednje velikim moralnim prijestupima nego kada je riječ o malim ili velikim moralnim prijestupima. To smo očekivali zbog toga što mali moralni prijestupi ne bi trebali izazvati jake emocije na dominantnom jeziku pa u tom slučaju razlika u emocionalnosti dominantnog i nedominantnog jezika ne može doći do izražaja. S druge strane, veliki moralni prijestupi trebali bi izazvati emocionalne reakacije koje će, čak i ako su na nedominantnom jeziku slabije nego na dominantnom, biti dovoljno jake da prepoznamo da je riječ o velikom moralnom prijestupu. Na srednjoj razini moralnih prijestupa razlike u emocionalnosti dominantnog i nedominantnog jezika mogle bi biti od najveće važnosti. Također, očekivali smo da će efekt stranog jezika biti to veći što je veća razlika u dominantnosti dominantnog i nedominantnog jezika. Kako strani jezik postaje sve dominantniji, on bi trebao biti sve sličniji dominantnom jeziku, kako po emocionalnosti, tako i po lakoći s kojom ga procesiramo. Kada je riječ o rezultatima CNI analize, očekivali smo da jezik neće utjecati na preferenciju prema (ne)djelovanju, ali smo očekivali da će korištenje nedominantnog jezika dovesti do manje brige za moralne norme kao i do manje brige za posljedice nego korištenje dominantnog jezika. I u ovom slučaju smo očekivali da će te razlike biti najizraženije kada je riječ o srednje velikim moralnim prijestupima i kada je razlika u dominantnosti dominantnog i nedominantnog jezika velika. Konačno, očekivali smo da će čitanje moralnih dilema na nedominantnom jeziku dovesti do slabije aktivacije moralnih emocija poput krivnje, srama i ljutnje, a da će to onda dovesti i do manje brige za moralne norme i manje brige za posljedice. Metoda Ovaj rad sastoji se od tri istraživanja. Prvo istraživanje bilo je potrebno kako bi se konstruirale nove moralne dileme. Najprije je, na temelju analize postojećih moralnih dilema, kao i analize različitih upitnika socijalnih i moralnih normi, sastavljen popis od 26 ponašanja koja su opisivala različite moralne prijestupe. Studenti psihologije (N = 68) iz Hrvatske procjenjivali su ta ponašanja tako što su odgovarali na pitanja o tome koliko je vjerojatno da se prosječna osoba nađe u situaciji da napravi svaki od navedenih moralnih prijestupa, koliko je velik svaki od navedenih moralnih prijestupa te u kojoj mjeri je svaki od prijestupa kod njih izazvao ljutnju, tugu, bespomoćnost, prijezir, gađenje, sram i krivnju. Na temelju rezultata ovog istraživanja odabrana su po tri moralna prijestupa koja su opisivala male, srednje velike i velike moralne prijestupe. Na temelju odabranih prijestupa i u skladu sa zahtjevima CNI modela, sastavljene su nove moralne dileme koje su potom s hrvatskog jezika prevedene na njemački i na engleski jezik. Nakon toga uslijedila su dva eksperimenta u kojima su nove moralne dileme korištene u dvije različite kulture i na tri različita para dominantnih i nedominantnih jezika. U Eksperimentu 1 sudionici su bili izvorni govornici engleskog jezika koji su kao su uz engleski vladali i njemačkim jezikom (N = 153). Oni su regrutirani preko platforme Prolific. Nakon što su pristali sudjelovati u istraživanju, po slučaju su bili raspoređeni ili u situaciju u kojoj su im moralne dileme i prateća pitanja bili prezentirani na dominantnom, engleskom jeziku ili u situaciju u kojoj su im moralne dileme i prateća pitanja bili prezentirani na nedominantnom, njemačkom jeziku. Svakom je sudioniku prikazano ukupno 38 moralnih dilema koje su završavale pitanjem o tome bi li sudionik u određenoj situaciji poduzeo opisanu akciju. Nakon svake moralne dileme, sudionici su odgovarali na pitanje o tome u kojoj je mjeri moralna dilema kod njih izazvala krivnju, sram i ljutnju. Sudionici kojima su materijali do tada bili prezentirani na nedominantnom jeziku dobili su i pitanje o tome koliko su dobro razumjeli materijale, a u konačnici su svi sudionici ispunili i upitnik kojim se ispitivala njihova dominantnost engleskog i njemačkog jezika (Bilingual language profile; Birdsong et al., 2012). Taj je upitnik svim sudionicima prezentiran na dominantnom jeziku. U Eksperimentu 1 nacrt je bio mješoviti 2 (jezik: dominantan ili nedominantan) x 3 (veličina moralnog prijestupa: mali, srednji ili velik), zavisan po varijabli veličina moralnog prijestupa i nezavisan po varijabli jezik. Eksperiment 2 bio je vrlo sličan Eksperimentu 1, ali su u njemu sudjelovali izvorni govornici hrvatskog jezika koji su kao nedominantan jezik koristili ili engleski ili njemački jezik. Pritom smo, uzimajući u obzir činjenicu da se u Hrvatskoj kao prvi strani jezik najčešće uči engleski jezik, kao i činjenicu da je engleski jezik vrlo prisutan u hrvatskim medijima, očekivali da će razlika u dominantnosti između hrvatskog i engleskog jezika biti manja nego razlika u dominantnosti između hrvatskog i njemačkog jezika. U ovom eksperimentu, sudionici su regrutirani putem e-maila te su, nakon što su pristali sudjelovati u istraživanju po slučaju bili raspoređeni ili u situaciju u kojoj su im moralne dileme i prateća pitanja bili prezentirani na dominantnom, hrvatskom jeziku ili u situaciju u kojoj su im moralne dileme i prateća pitanja bili prezentirani na njemačkom ili engleskom jeziku. Opća procedura i materijali bili su isti kao i u Eksperimentu 1. U ovom slučaju radilo se o mješovitom 3 (jezik: dominantan, manje izraženo nedominantan ili izraženije nedominantan) x 3 (veličina moralnog prijestupa: mali, srednji ili velik) nacrtu zavisnom po varijabli veličina moralnog prijestupa i nezavisnom po varijabli jezik. Rezultati i rasprava Novokonstruirane moralne dileme opisivale su tri mala, tri srednja i tri velika moralna prijestupa. Svaka od dilema sastavljena je u četiri različite verzije, u skladu sa zahtjevima CNI analize. Sve su dileme uključivale isključivo muške aktere, u njima se nisu spominjale emocije, a dileme koje opisuju male, srednje i velike moralne prijestupe smještene su u slične kontekste. Pritom su se dva manja moralna prijestupa odvijala u radnom okruženju, a jedan manji moralni prijestup odvijao se u kontekstu prijateljskog odnosa. Po jedan srednje velik i velik moralni prijestup smješteni su u radni kontekst i u kontekst prijateljskog odnosa, dok se po jedan srednje velik i velik moralni prijestup odnosio na postupak prema nepoznatoj osobi. Sedam od devet novih moralnih dilema pokazalo se valjanima i u Eksperimentu 1 (G 2 (2) ≤ 4.83; p > .05) i u Eksperimentu 2 (G 2 (3) ≤ 4.89; p > .05). U Eksperimentu 1 upitna je bila jedino dilemma koja se odnosila na korištenje bolovanja u slučaju kada osoba zapravo nije bolesna. Budući da ista dilema nije bila problematična u Eksperimentu 2, vjerojatno je važnu ulogu igrala kulturološka razlika između sudionika u dva eksperimenta. U Eksperimentu 2 upitna je bila jedino dilema koja je problematizirala laganje o posjedovanju vještina i sposobnosti u životopisu. U ovom slučaju važnu ulogu je mogla igrati različita dob sudionika Eksperimentu 1 i Eksperimentu 2. U Eksperimentu 1 efekt stranog jezika nije detektiran za englesko-njemačke dvojezične osobe (U = 2351; p = .07), a efekt nije detektiran niti u Eksperimentu 1 za hrvatsko-njemačke (t(161) = 1.86; p = .06) ili hrvatsko-engleske dvojezične osobe (t(161) = 0.73; p = .47). Iako su korištene drugačije moralne dileme nego u prethodnim istraživanjima, rezultati nisu u skladu s većinom istraživanja u području efekta stranog jezika. Dok u ranijim istraživanjima nije bio neobično da se koristi samo jedna moralna dilema, novija istraživanja sve se više oslanjaju na CNI model moralnog odlučivanja, a da bi se parametri ovog modela mogli procijeniti, potreban je veći broj moralnih dilemma. Nadarevic i sur. (2021) navode da gotovo ni jedno istraživanje u kojem je korišten veći broj moralnih dilema nije bilo uspješno u replikaciji efekta stranog jezika. Kao potencijalno objašnjenje tog nalaza, Nadarevic i sur. (2021) navode da donošenje većeg broja moralnih odluka u nizu može dovesti do slabljenja emocionalnih odgovora pa je moguće da način na koji se obrađuju informacije na više ili manje dominantnom jeziku postaje vrlo sličan već nakon nekoliko moralnih dilema. Ipak, važno je napomenuti i da zbog značajnog osipanja sudionika, pogotovo onih koji su bili raspoređeni u situacije u kojima su im materijali bili prezentirani na njemačkom jeziku, broj sudionika u konačnim uzorcima nije bio dovoljno velik da bi se osigurala dovoljna statistička snaga. U Eksperimentu 1, post-hoc analiza statističke snage otkrila je da je studija postigla snagu od samo 1-β = .68, dok je snaga u Eksperimentu 2 iznosila 1-β = .67. Kada je riječ o rezultatima CNI analize, pokazalo se da jezik, u skladu s očekivanjima, nije utjecao na preferenciju prema (ne)djelovanju (I). Iako se pokazalo da je jezik utjecao na brigu za moralne norme i brigu za posljedice, obrazac tog djelovanja je u svakom od parova dominantnog i nedominantnog jezika bio različit. Konkretno, u uzorku englesko-njemačkih dvojezičnih osoba korištenje njemačkog dovelo je do manje brige za moralne norme nego korištenje engleskog jezika (ΔG 2 (1) = 8.97; p < .01), dok jezik nije utjecao na brigu za posljedice (ΔG 2 (1) = 1.00 ; p = .32). Ovi rezultati nisu u skladu s hipotezom, ali u postojećoj literaturi može se pronaći usporediv nalaz. Oldham (2021) je također koristio CNI model i pronašao jedino manju brigu za moralne norme na stranom u odnosu na materinski jezik za njemačko-engleske dvojezične osobe čije poznavanje engleskog jezika nije bilo pretjerano visoko. U ovom istraživanju englesko-njemačke dvojezične osobe bile su skupina u kojoj je razlika u dominantnosti dominantnog i nedominantnog jezika bila najveća. U uzorku hrvatsko-engleskih dvojezičnih osoba nisu pronađene razlike niti u brizi za moralne norme (ΔG 2 (1) = 0.41; p = .52) niti u brizi za posljedice (ΔG 2 (1) = 3.17; p = .07). Zanimljivo, pokazalo se da su u ovom istraživanju hrvatsko-engleski dvojezične osobe bile skupina u kojoj je razlika u dominantnosti dominantnog i nedominantnog jezika bila srednje velika, a ne najmanja. Oldham (2021) u svojem istraživanju također nije pronašao razliku niti u jednom od parametara CNI modela između dva različita jezika u uzorku u kojem su sudionici s izrazito visokom razinom poznavanja stranog jezika uklonjeni iz analize. Konačno, u uzroku hrvatsko-njemačkih dvojezičnih osoba kod kojih je razlika u dominantnosti dominantnog i nedominantnog jezika bila najmanja korištenje njemačkog jezika dovelo je do manje brige za posljedice nego korištenje hrvatskog jezika (ΔG 2 (1) = 10.55; p < .01), ali nije utjecalo na brigu za moralne norme (ΔG 2 (1) = 1.17; p = .28). Nadarevic i sur. (2021) su, na razini trenda, opazili usporedive rezultate na uzorku njemačkoengleskih dvojezičnih osoba koje su u prosjeku započele učiti engleski u dobi od osam godina i u velikoj su mjeri ovladale njime. U ovom radu hrvatsko-njemački jezični par bio je onaj u kojem je razlika u dominaciji L1 i L2 bila najmanje izražena. Kada smo male, srednje velike i velike moralne prijestupe razmatrali zasebno, niti u jednom slučaju nije detektiran efekt stranog jezika na uzorku englesko-njemačkih dvojezičnih osoba niti na uzorku hrvatsko-engleskih dvojezičnih osoba. Suprotno tome, na uzorku hrvatskonjemačkih dvojezičnih osoba u slučaju malih moralnih prijestupa pronađen je efekt stranog jezika u suprotnom smjeru (t(161) = 2.28; p = .02). Utilitarne odluke bile su učestalije na dominantnom, hrvatskom, nego na nedominantnom, njemačkom jeziku. CNI analiza nije detektirala razlike niti u jednom od parametara na uzorku englesko-njemačkih dvojezičnih osoba. Na uzorku hrvatskonjemačkih dvojezičnih osoba jedina razlika bila je ona u brizi za posljedice kod velikih moralnih prijestupa (ΔG 2 (1) = 7.39; p = .01). Briga za posljedice bila je veća na nedominantnom, njemačkom, nego na dominantnom, hrvatskom jeziku. Na uzorku hrvatsko-engleskih dvojezičnih osoba jedina razlika bila je ona u brizi za posljedice u slučaju malih moralnih prijestupa (ΔG 2 (1) = 4.05; p = .04). U ovom slučaju briga za posljedice je bila manja na nedominantnom, engleskom, nego na dominantnom, hrvatskom jeziku. Ovi rezultati nisu u skladu s očekivanjem da će efekt stranog jezika biti najizraženiji u slučaju srednje velikih moralnih prijestupa niti da će razlika u brizi za norme i brizi za posljedice između dominantnog i nedominantnog jezika biti najizraženija u slučaju srednje velikih moralnih prijestupa. Na deskriptivnoj razini, u svim parovima jezika efekt stranog jezika bio je najbliže tome da bude statistički značajan u slučaju velikih moralnih prijestupa. Moguće je da je činjenica da su sve moralne dileme opisivale situacije s kojima se sudionici stvarno mogu susresti u svom svakodnevnom životu dovela do toga da se čak i veliki moralni prijestupi čine blažima. Buduća istraživanja mogla bi razviti dodatne moralne dileme koje opisuju još ozbiljnije prijestupe. Kada je riječ o utjecaju relativne dominantnosti nedominantnog u odnosu na dominantni jezik na veličinu efekta stranog jezika, rezultati ukazuju na to da je efekt stranog jezika bio najvjerojatniji u uzorku englesko-njemačkih dvojezičnih osoba. To je ujedno uzorak u kojem je razlika u dominantnosti dominantnog i nedominantnog jezika bila najveća. Za hrvatsko-engleske dvojezične osobe obrazac odgovora na hrvatskom i engleskom bio je gotovo identičan. Za ovaj uzorak razlika u dominantnosti dominantnog i nedominantnog jezika bila je manja nego u uzorku englesko-njemačkih dvojezičnih osoba. Ovi rezultati su, barem na deskriptivnoj razini, u skladu s očekivanjem da će efekt stranog jezika biti veći kada je strani jezik manje dominantan. Međutim, u uzorku hrvatsko-njemačkih dvojezičnih osoba, u kojem je razlika u dominantnosti dominantnog i nedominantnog jezika bila najmanja, obrazac odgovora bio je u suprotnom smjeru nego što smo očekivali, odnosno vjerojatnost utilitarnih odgovora bila je veća na dominantnom nego na nedominantnom jeziku. Iako ovaj rezultat nije u skladu s očekivanjima, ukupno se čini da dominantnost stranog jezika igra ulogu u veličini efekta stranog jezika. Zanimljivo je da je razina vladanja nedominantnim jezikom u uzorku hrvatsko-engleskih i hrvatsko-njemačkih dvojezičnih osoba bila jednaka. To dodatno sugerira da bi buduća istraživanja u domeni efekta stranog jezika trebala obratiti pažnju na dominantnost, a ne samo na vladanje stranim jezikom. Konačno, iako su se prilikom konstrukcije novih moralnih dilemma moralne emocije pokazale važnijima od standardnih emocija, moralne emocije nisu posredovale odnos između jezika na kojem su dileme prezentirane i brige za moralne norme (ab = -0.03; 95% CI [-0.07, 0.0008]) niti brige za posljedice (ab ≈ 0; 95% CI [-0.01, 0.01]). Zaključak Ukupno, najveći doprinos ovog rada predstavljaju novokonstruirane moralne dileme koje su prikladne za CNI analizu, a opsuju male, srednje velike i velike moralne prijestupe s kojima se prosječna osoba može susresti u svakodnevnom životu. Rezultati Eksperimenata 1 i 2 uglavnom nisu u skladu s očekivanjima. Općenito, efekt stranog jezika nije detektiran, vjerojatno zbog toga što je korišten velik broj moralnih dilema i zbog toga što je značajno osipanje sudionika raspoređenih u eksperimentalne situacije u kojima su im materijali prikazani na njemačkom jeziku dovelo do neadekvatne statističke snage. Na deskriptivnoj razini, postoji mogućnost da bi efekt stranog jezika mogao biti prisutan i u svakodnevnim moralnim dilemama, a čini se i da je to vjerojatniji što je veća razlika u dominantnosti dominantnog i nedominantnog jezika. Također, čini se da na različitim razinama razlike u dominantnosti između domin
Archaeology of identities in 5th and 6th centuries in late antique Dalmatia and southern Pannonia
No full textOva disertacija predstavlja istraživanje identiteta 5. i 6. stoljeća na prostoru nekadašnjih rimskih provincija (Savia, Sirmiensis, Dalmatia), odnosno istraživanje područja južne Panonije i Dalmacije, s osobitim naglaskom na teritorij Republike Hrvatske. Pitanja identiteta, u velikoj mjeri neistraženih stoljeća turbulentnog razdoblja velike seobe naroda tijekom navedena dva stoljeća, u arheologiji se najčešće baziraju na donošenju mišljenja i zaključaka o etničkim identitetima novodoseljenog stanovništva na teritorij spomenutih rimskih provincija. Disertacija donosi pogled na istraživanje identiteta uopće te se ne ograničava isključivo na etnički identitet već problem sagledava dubinski, prateći sociološke promjene pojedinaca i skupina unutar društva koje se suživotom novodoseljenog i starosjedilačkog stanovništva neminovno mijenja velikom brzinom. Razmatra se pitanje u kojoj mjeri predmeti arheološke materijalne kulture mogu nedvosmisleno svjedočiti identitetu nositelja materijalne kulture. Na taj način, disertacija predstavlja zanimljive društvene fenomene koji mijenjaju etnički, socijalni, ekonomski i gospodarski profil navedenog područja. Interdisciplinarnim pristupom znanstvenom istraživanju nerimskog stanovništva južne Panonije i Dalmacije, mogu se temeljitije promatrati navedeni fenomeni koji se u arheologiji mogu odražavati u materijalnoj kulturi koju je to stanovništvo tijekom 5. i 6. stoljeća ostavilo na obrađivanim područjima. Pojedine, već postojeće, interpretacije arheološkog materijala potrebno je preispitati te iscrpiti maksimum mogućih podataka koji predmet može pružiti s obzirom na navedene kategorije. Pristup istraživanju neminovno je interdisciplinaran te, uz arheologiju, pretpostavlja uključivanje drugih znanstvenih disciplina koje nadopunjuju arheološke zaključke. Posebno se razmatra odnos pisanih izvora naspram istraženih predmeta materijalne kulture, u smislu relevantnih informacija koje dobivamo s jedne i s druge strane da bi se izbjegla česta situacija u prošlosti kada su se pisana vrela uzimala kao činjenice. Detaljno proučavanje te predstavljanja većine istraženih i objavljenih predmeta materijalne kulture nerimskog stanovništva na jednom mjestu, olakšavaju rad istraživača koji će, u budućnosti, interesno zadirati u ovo razdoblje. Interpretacija nalaza kroz tekstualni i slikovni dio rekonstukcija, otvara ovu temu za daljnju raspravu o mogućnostima interpretacije identiteta nerimskog stanovništva južne Panonije i Dalmacije tijekom 5. i 6. stoljeća. Razdoblje navedena dva stoljeća označava turbulencije koje su se u to vrijeme događale na teritoriju Rimskog Carstva, a koje su značile korjenite promjene i temelj uspostave Europe kakvu poznajemo danas.This dissertation represents the research of the identity of the 5th and 6th centuries in the area of the former Roman provinces (Savia, Sirmiensis, Dalmatia), that is, the research of the area of southern Pannonia and Dalmatia, with a special emphasis on the territory of the Republic of Croatia. Questions of identity, largely unexplored during the turbulent period of the great migration of peoples during the aforementioned two centuries, in archeology are most often based on opinions and conclusions about the ethnic identities of the newly settled population in the territory of the mentioned Roman provinces. The dissertation brings a view of identity research in general and is not limited exclusively to ethnic identity, but the problem of looking in-depth, following the sociological changes of individuals and groups within society, which is inevitably changing at a high speed due to the coexistence of the newly settled and indigenous population. The question to what extent objects of archaeological material culture can unequivocally testify to the identity of the bearer of material culture is considered. In this way, the dissertation presents interesting social phenomena that change the ethnic, social, economic and economic profile of the mentioned area. With an interdisciplinary approach to the scientific research of the non-Roman population of southern Pannonia and Dalmatia, the aforementioned phenomena can be more thoroughly observed, which in archeology can be reflected in the material culture that this population left in the cultivated areas during the 5th and 6th centuries. Certain, already existing, interpretations of archaeological material need to be re-examined and the maximum amount of possible data that the subject can provide with regard to the above categories should be exhausted. The research approach is inevitably interdisciplinary and, along with archaeology, it assumes the inclusion of other scientific disciplines that complement the archaeological conclusions. Special consideration is given to the relationship between written sources and researched objects of material culture, in terms of the relevant information we receive from one side and the other. The detailed study and presentation of most of the researched and published objects of the material culture of the non-Roman population in one place facilitate the work of researchers who, in the future, will interestingly delve into this period. The interpretation of the findings through the textual and pictorial part of the reconstruction opens this topic for further discussion about the possibilities of interpreting the identity of the non-Roman population of southern Pannonia and Dalmatia during the 5th and 6th centuries. The period of the mentioned two centuries marks the turbulences that took place at that time in the territory of the Roman Empire, which meant radical changes and the foundation of the establishment of Europe as we know it today
Recipročni odnosi percipiranog stila poučavanja nastavnika s motivacijom i akademskim postignućem učenika
No full textTeaching styles are crucial in creating a motivating environment. However, processes through which teachers shape students’ motivational and academic outcomes have not been fully established, especially for the maladaptive motivational dynamics. Additionally, research has only recently considered that students may have an inverse role in shaping teachers’ style through agentic (dis)engagement. Thus, the aim of this study was to explore reciprocal relationships between agentic (dis)engagement, perceived teachers’ teaching style, motivation and academic achievement as proposed by the revised model of student engagement (Reeve, Cheon & H. Jang, 2020), for the brighter (adaptive) and the darker (maladaptive) motivational pathway. We conducted a two-wave longitudinal study within the project FreeCareerChoice funded by the Croatian Science Foundation (IP-2019-04-7537). We gathered self-reported data from 1213 high school students (61.1% female, 53.9% vocational students). We utilised autoregressive cross-lagged modeling to determine the directional relationships between the variables. Our findings support the revised model of student engagement for the brighter pathway since most associations follow the model’s assumptions. However, we found that instead of agentic engagement, autonomous motivation is reciprocally associated with perceived teacher autonomy support. In terms of the darker motivational pathway, our results provide no support for the model, as no significant associations between the variables were found. The findings of the study significantly contribute to the understanding of teacher-student dynamics, as the revised model of student engagement has previously not been comprehensively tested. Additionally, the study yielded important practical implications as it highlights the need to encourage teachers to adopt an autonomy-supportive style.Uvod
U području obrazovne psihologije postoji slaganje da je pristup nastavnika učeniku ključan za motivacijske i akademske ishode učenika (Bureau i sur., 2021). Međutim, određeni aspekti dinamike odnosa nastavnika i učenika nisu temeljito istraženi. Ovo istraživanje će, stoga, doprinijeti novim spoznajama sveobuhvatnim ispitivanjem adaptivnih i neadaptivnih odnosa nastavnika i učenika u okviru teorije samodeterminacije (Deci i Ryan, 1985).
Teorija samodeterminacije opsežni je okvir za istraživanje motivacijskih procesa. Osnovna pretpostavka jedne od njezinih mini-teorija je da ljudi imaju tri urođene i univerzalne osnovne psihološke potrebe – potrebu za autonomijom, kompetentnosti i povezanosti (Deci i sur., 1991). Zadovoljenje potrebe, a osobito potrebe za autonomijom, potiče dobrobit i prosperitet, stoga se ljudi okreću okolinama u kojima ih mogu zadovoljiti (Vansteenkiste i sur., 2022). S druge strane, mogu se naći u okolinama koje frustriraju njihove potrebe, to jest aktivno ih sprječavaju u zadovoljenju potreba, što dovodi do smanjenje dobrobiti (Vansteenkiste i Ryan, 2013).
Pretpostavke teorije samodeterminacije o osnovnim psihološkim potrebama pokazale su se točnima u različitim domenama života (Ryan i sur., 2022). Osobit interes za istraživanja psiholoških potreba postoji u području obrazovanja s obzirom na centralnu ulogu koje obrazovanje ima u razvoju pojedinca (Ryan i Deci, 2020). Kad govorimo o obrazovanju, najznačajnije djelovanje u ostvarivanju psiholoških potreba ima nastavnik, to jest njegov stil poučavanja (Cheon i sur., 2016; Howard i sur., 2024; Núñez i León, 2018; Schuitema i sur., 2016). Možemo razlikovati dva osnovna stila poučavanja: nastavničku podršku autonomiji i nastavničku kontrolu. Nastavnička podrška autonomiji odnosi se na stil u kojem nastavnik uzima u obzir želje i potrebe učenika te se trudi zauzeti njihovu perspektivu (Aelterman i sur., 2019; Ryan i Deci, 2020). S druge strane nastavnička kontrola opisuje stil u kojem nastavnik prioritizira svoje ciljeve te ih nameće učenicima (Aelterman i sur., 2019). Iako ih se često tako predstavlja, ova dva stila nisu suprotstavljeni polovi iste dimenzije, već dva pristupa koja mogu koegzistirati (Aelterman i sur., 2019; Patall i sur., 2018). U prilog ovakvom pogledu na nastavničke stilove idu nalazi koji pokazuju relativno niske korelacije između njihovih razina, te istraživanja koja pokazuju da imaju drugačije ishode (Haerens i sur., 2015; H. Jang i sur., 2016; Reeve i sur., 2023; Reeve i Cheon, 2021; Vansteenkiste i Ryan, 2013). Naime, pokazuje se da nastavnička podrška autonomiji snažno pozitivno predviđa zadovoljenje psiholoških potreba i pozitivne učeničke ishode, dok nije povezana ili je slabo negativno povezana s frustracijom potreba i negativnim učeničkim ishodima (Bartholomew, Ntoumanis, Ryan, Bosch, i Thøgersen-Ntoumani, 2011; H. Jang i sur., 2016; Reeve i Cheon, 2021; Vansteenkiste i Ryan, 2013). Za nastavničku kontrolu vrijedi suprotno. Ova konceptualizacija koja odvaja svjetliji motivacijski put koji povezuje nastavničku podršku autonomiji i pozitivne učeničke ishode, te mračniji motivacijski put koji povezuje nastavničku kontrolu i negativne učeničke ishode, naziva se dvoprocesni model motivacije. Iako su oba puta podjednako važna za razumijevanje motiviranog ponašanja, mračniji motivacijski put značajno je manje istražen u svim domenama, pa tako i obrazovanju (Bartholomew i sur., 2018; Bartholomew, Ntoumanis, Ryan, Bosch, i Thøgersen-Ntoumani, 2011; De Meyer i sur., 2014; H. Jang i sur., 2016; Li i sur., 2018; Reeve, Cheon i H. Jang, 2020; S. A. Zhou i sur., 2023).
U kontekstu teorije samodeterminacije, motivacija uključuje dvije grupe motivacija. Autonomna motivacija se odnosi na samodeterminirane oblike motivacije, to jest na motivaciju u kojoj se pojedinac samostalno upušta u ponašanje zbog osobne važnosti tog ponašanja ili jer u njemu uživa (Ryan i Deci, 2020). U školskom kontekstu, autonomno su motivirani oni učenici koji uče jer smatraju da je učiti važno ili ih učenje interesira. S druge strane imamo kontroliranu motivaciju – motivaciju koja proizlazi iz unutarnje ili vanjske prisile (Ryan i Deci, 2020). Primjerice, kontrolirano su motivirani oni učenici koji uče zbog nagrada i kazni ili zbog krivnje i samopotvrđivanja. U skladu s dvoprocesnim modelom motivacije, autonomna motivacija bi trebala pripadati na svjetliji motivacijski put kao ishod nastavničke podrške autonomije, dok bi kontrolirana motivacija trebala pripadati na mračniji motivacijski put kao ishod nastavničke kontrole. Prijašnja istraživanja podržavaju takvu podjelu (André i sur., 2023; Haerens i sur., 2015; Patall i sur., 2018; Rodrigues i sur., 2019), no pregled literature pokazao je da je motivacija kao konstrukt relativno malo istraživana u okviru dvoprocesnih modela motivacije.
Jedan od ključnih ishoda učeničke motivacije je uključenost u nastavu. Iako se tradicionalno dijeli na tri komponente – emocionalnu, kognitivnu i bihevioralnu, Reeve i Tseng (2011) dodaju četvrtu komponentu – proaktivnu uključenost. Proaktivna uključenost odnosi se na konstruktivni doprinos učenika nastavi, to jest njihovo postavljanje pitanja, davanje povratne informacije i izražavanje potreba u nastavnom procesu (Reeve, 2013; Reeve i Tseng, 2011). Proaktivna uključenost, s jedne strane, kao i ostale komponente uključenosti, doprinosi akademskom postignuću učenika (Reeve, 2013; Reeve, Cheon i H. Jang, 2020; Reeve i sur., 2022; Reeve i Tseng, 2011; Skinner i Pitzer, 2012). S druge strane, za razliku od ostalih komponenti uključenosti, služi kao signal nastavniku kako da nastavu učini primjerenijom potrebama učenika (Reeve i sur., 2022; Reeve i Shin, 2020; Reeve i Tseng, 2011). Dakle, proaktivna uključenost trebala bi biti recipročno povezana s nastavničkom podrškom autonomiji na svjetlijem motivacijskom putu. Iako istraživanja idu u prilog postojanju ove veze (H. Jang i sur., 2012; 2016; H.-R. Jang et al., 2024; Matos i sur., 2018; Patall i sur., 2019; Reeve, 2013), potrebno ju je dodatno istražiti s obzirom na metodološke nedostatke prijašnjih istraživanja (Patall i sur., 2018; 2019; Reeve i Shin, 2020). Još jedan konstrukt koji nije dovoljno istraživan je proaktivna neuključenost. Ona opisuje učenike koji pasivno prihvaćaju tijek nastavnog sata, bez pokušaja da gradivo i način predavanja pokušaju prilagoditi svojim potrebama (Reeve i Shin, 2020). Slično kao podrška autonomiji u odnosu na kontrolu i autonomna u odnosu na kontroliranu motivaciju, proaktivna neuključenost predstavlja pandan proaktivne uključenost na mračnijem motivacijskom putu (H. Jang i sur., 2016; Reeve i Cheon, 2021; Reeve i Tseng, 2011). Prema tome, možemo očekivati da je proaktivna neuključenost rezultat nastavničke kontrole i kontrolirane motivacije te da predviđa lošije akademsko postignuće. Također, trebala bi recipročno predviđati porast nastavničke kontrole, s obzirom da nastavnici od učenika koji ne participiraju ne dobivaju povratnu informaciju kako im prilagoditi nastavu (H.-R. Jang i sur., 2024; Patall, 2024; Reeve, Cheon i Yu, 2020). Iako postoje pretpostavke o ulozi proaktivne neuključenosti, ona je u literaturi većinski zanemarena, stoga su nužna daljnja istraživanja (H. Jang i sur., 2016; Reeve, Cheon i Yu, 2020).
Pregled literature u području pokazao je snažnu podršku za dvoprocesne modele motivacije, s tim da su konstrukti koji pripadaju svjetlijem motivacijskom putu značajno istraženiji od onih koji pripadaju mračnijem motivacijskom putu. Iako je relativno jasno da postoje dva motivacijska puta, procesi kroz koji nastavnici potiču motivaciju i akademsko postignuće učenika još uvijek nisu potpuno jasni. Također, pokazuje se da su istraživanja tek odnedavno motivacijski proces počela promatrati kao dvosmjeran – nastavnici motiviraju učenike, a učenici motiviraju nastavnike. Iz tog razloga, važno je istraživati proaktivnu uključenost i neuključenost, s obzirom da se radi o relativno novim konstruktima čija povratna veza s nastavničkim stilovima nije u potpunosti razjašnjena. Dakle, možemo reći da u ovom području postoje dva ključna pitanja (Reeve i Cheon, 2021): (1) Kroz koje procese nastavnici utječu na motivacijske i akademske ishode učenika? i (2) Mogu li učenici zauzvrat utjecati na stil poučavanja svojih nastavnika?
Teorijski model koji odgovara na ova dva pitanja te povezuje prije opisane konstrukte je revidirani model uključenosti učenika (Reeve, Cheon i H. Jang, 2020). Prema modelu, nastavnička podrška autonomiji predviđa autonomnu motivaciju učenika, koja je zatim povezana s proaktivnom uključenošću učenika. Ako se nastavnik trudi više uključiti potrebe učenika u nastavu, oni će biti zainteresiraniji te je smatrati važnijom (Reeve i Cheon, 2021). Posljedično, učenici će biti motiviraniji više saznati i sudjelovati na nastavi (Reeve i sur., 2004; Skinner i Pitzer, 2012; Stroet i sur., 2013). Povećana razina proaktivne uključenosti, po modelu, zatim previđa akademsko postignuće učenika te buduću nastavničku podršku autonomiji. S obzirom da učenici postavljaju pitanja i daju sugestije, bolje će shvatiti nastavno gradivo te će nastavnika uputiti kako da im dodatno prilagodi nastavu (Reeve, 2013; Reeve i Tseng, 2011). Kao što je vidljivo iz opisanog, revidirani model učeničke uključenosti opisuje odnose varijabli svjetlijeg, no ne i mračnijeg motivacijskog puta. Iz tog razloga Reeve, Cheon i H. Jang (2020) u radu u kojem su definirali ovaj model preporučuju njegovu prilagodbu za mračniji motivacijski put. Iz tog razloga, predložili smo model koji translatira odnose opisane u revidiranom modelu učeničke uključenosti s varijablama s mračnijeg motivacijskog puta. Prema tome, nastavnička kontrola bi trebala predviđati kontroliranu motivaciju koja je zatim povezana s proaktivnom neuključenosti. Ako nastavnici stvaraju pritisak na učenike, taj pritisak će im postati glavni razlog za učenje te stoga učenici neće imati želju aktivnije sudjelovati u nastavi (Bartholomew i sur., 2018; Curran i Standage, 2017; Vansteenkiste i Ryan, 2013). Proaktivna neuključenost učenika zatim će rezultirati slabijim akademskim postignućem i budućom kontrolom nastavnika. Ako učenici ne traže dodatna objašnjenja lošije će savladati gradivo te neće razjasniti nastavniku na koji način bi im bolje mogao približiti gradivo (Bartholomew i sur., 2018; Reeve, Cheon i Yu, 2020).
Iako za revidirani model učeničke uključenosti postoji jasna teorijska te nešto empirijske podrške, neki autori sugeriraju da su motivacijski procesi složeniji od onog opisanog u modelu (H. Jang i sur., 2012). Naime, smatraju kako bi model trebao uključivati dodatne recipročne veze (H.-R. Jang, 2023; Patall, 2024; Patall i sur., 2019; Reeve i sur., 2022). Primjerice, da bi akademsko postignuće učenika također mogao poticati nastavnike da daju više autonomije učenicima, a učenike dodatno motivirati za učenje. Iz tog razloga, potrebna je cjelovita provjera pretpostavki revidiranog modela učeničke uključenosti, kako bi se utvrdilo temporalne i recipročne veze između proaktivne (ne)uključenosti, stila poučavanja nastavnika, akademske motivacije i akademskog postignuća. Budući da je većina prijašnjih istraživanja imala transverzalni nacrt (npr. Behzadnia i sur., 2018; Collie i sur.., 2019; Gutiérrez i Tomás, 2019; Haerens i sur., 2015; H. Jang i sur., 2009; Johansen i sur., 2023; Mameli i Passini, 2017), to nije omogućavalo provjeru takvih odnosa. Naše istraživanje, stoga, predstavlja vrijedan doprinos spoznajama u području. Također, većina prije provedenih kvalitetnih istraživanja o ovoj temi koristila je uzorke iz Jugoistočne Azije te se fokusirala isključivo na nastavu tjelesnog odgoja. Iz tog razloga, naše će istraživanje, koje je smješteno u Zapadni kontekst te koristi globalne mjere, umjesto mjera usmjerenih na specifičan školski predmet, doprinijeti potvrđivanju zaključaka prijašnjih istraživanja u drugačijem kontekstu.
Cilj i problemi istraživanja
Cilj istraživanja bio je ispitati recipročne odnose između proaktivne (ne)uključenosti, percipiranog stila poučavanja nastavnika, akademske motivacije i akademskog postignuća učenika prema pretpostavkama modela Reevea, Cheona i H. Jang (2020), u kontekstima svjetlijeg i mračnijeg motivacijskog puta. Ovaj je cilj ispitan kroz četiri istraživačka problema: (1) Predviđaju li se percipirana nastavnička podrška autonomiji te autonomna motivacija, proaktivna uključenost i akademsko postignuće učenika međusobno uzastopnim redoslijedom?, (2) Postoji li recipročna povezanost između percipirane nastavničke podrške autonomiji i proaktivne uključenosti?, (3) Predviđaju li se percipirana nastavnička kontrola te kontrolirana motivacija, proaktivna neuključenost i akademsko postignuće učenika međusobno uzastopnim redoslijedom? i (4) Postoji li recipročna povezanost između percipirana nastavničke kontrole i proaktivne neuključenosti učenika?
Metoda
Ovo istraživanje je provedeno u sklopu šireg projekta FreeCareerChoice koji financira Hrvatska zaklada za znanost (IP-2019-04-7537). Nacrt istraživanja je longitudinalan, s dva vala prikupljanja podataka. Vremenske točke u kojima su podaci prikupljeni razmaknuti su oko godinu dana.
Sudionici
U istraživanju je sudjelovalo 1213 učenika srednjih škola iz cijele Hrvatske (61.1% djevojke, 53.9% učenici strukovnih škola). Učenici su polazili 18 škola, to jest 67 različitih razreda. Prosječna dob u prvoj točci prikupljanja podataka bila je 16.47 godina (SD = 0.64).
Postupak
Prije početka istraživanja, dobivena je privola Etičkog povjerenstva Instituta društvenih znanosti Ivo Pilar za cijeli projekt (no. 11-73/19-1261), te Etičkog povjerenstva Odsjeka za psihologiju Filozofskog fakulteta Sveučilišta u Zagrebu za ovo istraživanje (EPOP_2022_23_29). Prije sudjelovanja učenika u prvom valu istraživanja pisanu suglasnost za sudjelovanje su dali njihovi roditelji, dok su učenici prije početka ispitivanja u svakom valu dali svoju suglasnost za sudjelovanje. Prikupljanje podataka bilo je organizirano u školama tijekom nastave u trajanju od oko 40 minuta. Ispitivanje je provedeno putem online platforme kojoj su učenici pristupali putem školskih računala. Tijekom ispitivanja bio je prisutan član projektnog tima ili stručni suradnik koji je prethodno upoznat sa sadržajem upitnika.
Instrumenti
U istraživanju su korištene mjere samoprocjene na globalnoj razini, dakle procjene učenika o nastavnicima i sebi općenito, a ne o specifičnom predmetu. Mjerili smo percipirani nastavnički stil koji podržava autonomiju, percipirani nastavnički kontrolirajući stil, akademsku motivaciju, proaktivnu uključenost, proaktivnu neuključenost te prikupili podatke o završnom prosjeku ocjena učenika i njihovim sociodemografskim karakteristikama. Svi instrumenti su prethodno validirani, ali je većina bila po prvi bila prevedena na hrvatski jezik metodom prijevod-nazad prijevod (Brislin, 1970). Rezultati predistraživanja i psihometrijska analiza instrumenata pokazali su da imaju očekivanu strukturu i visoku pouzdanost.
Analitička strategija
Analiza podataka napravljena je u programima IBM SPSS Statistics 26.0 (IBM Corp, 2019) i R verzija 4.4.0. (R Core Team, 2024). Provedena je u četiri koraka: (1) analiza nedostajućih podataka i osipanja, (2) deskriptivna analiza, (3) analiza longitudinalne invarijantnosti, te (4) glavna analiza. U glavnoj analizi smo koristili autoregresijske križne modele. Specifično, usporedili smo četiri modela kako bismo utvrdili koji najbolje opisuje podatke: (1) model stabilnosti (specificirane samo autoregresivne veze), (2) model kauzalnosti (specificirane veze definirane u skladu s teorijskim modelom), (3) model obrnute kauzalnosti (specificirane veze definirane suprotno teorijskom modelu), (4) recipročni model (specificirane sve autoregresivne i križne veze). U glavnoj analizi kontrolirali smo obrazovni program, kohortu i rod učenika.
Rezultati i rasprava
Prva dva istraživačka problema odnosila su se na svjetliji motivacijski put. Analiza autoregresijskih križnih modela pokazala je da je najprimjereniji model recipročni model. To nam to ukazuje da je potrebno specificiranje drugačijih ili dodatnih puteva u odnosu na revidirani model uključenosti učenika (Reeve, Cheon i H. Jang, 2020). Ipak da bi se utvrdilo u kojoj mjeri dobiveni model odstupa od teorijskog potrebno ga je pobliže analizirati.
Da bismo to učinili, prvo smo pogledali povezanosti koje objašnjavaju proces kroz koji nastavnik mijenja motivacijske i akademske ishode učenika. Sukladno našim hipotezama pokazalo se da T1 percipirana nastavnička podrška autonomiji predviđa T2 autonomnu motivaciju učenika, T1 autonomna motivacija predviđa T2 proaktivnu uključenost, a T1 proaktivna uključenost T2 akademsku uspješnost. Ovakve veze su u skladu s pretpostavkama revidiranog modela učeničke uključenosti (Reeve, Cheon i H. Jang, 2020), to jest konzistentne su sa sukcesivnim procesom kroz koji nastavnik djeluje na učenike prema modelu. Iako model pretpostavlja recipročnu vezu između proaktivne uključenosti i nastavničke podrške autonomiji, nije pronađena korelacija između T1 proaktivne uključenosti i T2 percipirane nastavničke podrške autonomiji, čime nismo potvrdili svoju hipotezu. Neka prijašnja istraživanja također nisu pronašla ovu recipročnu vezu (H. Jang i sur., 2016; Patall, 2024; S. A. Zhou i sur., 2023). Oslanjajući se na njihove nalaze pretpostavili smo tri razloga zbog kojih veza nije nađena u našem istraživanju. Prvo, moguće je, ali ne vjerojatno, da smo u uzorku zahvatili povećani broj učenika iz marginaliziranih skupina ili skupina koje imaju slabije akademsko postignuće. Učenici iz takvih skupina imaju manju mogućnost utjecati na svoje nastavnike, to jest njihova proaktivna uključenost često ne rezultira time da im nastavnici daju više autonomije (Liu i sur., 2024; Zambrano i sur., 2021). Drugo, moguće je da konceptualizacija i mjere proaktivne uključenosti nisu prilagođene za zapadni kontekst. Istraživanja provedena u SAD-u i Europi pokazuju da učenici smatraju da proaktivna uključenost također treba uključivati kolaborativna ponašanja, uključenost izvan nastave i elemente samoreguliranog učenja (Mameli i Passini, 2018; Petričević i sur., 2024; Rovan, 2024; Zambrano i sur., 2022). Posljedično, moguće je da ovim istraživanjem nismo adekvatno zahvatili proaktivnu uključenost. Treće, moguće je da nastavnici imaju raznolike reakcije na proaktivnu uključenost učenika. Dok dio njih, u skladu s teorijom, vjerojatno vidi proaktivnu uključenost učenika kao korisnu povratnu informaciju, drugi dio vjerojatno reagira antagonistički (Matos i sur., 2018; Patall i sur., 2019). Iz tog razloga, moguće je da polovica nastavnika više podupire autonomiju kad su učenici proaktivni, dok drugi umanjuju svoju podršku s obzirom na negativnu percepciju učeničkih primjedbi, što na kraju rezultira nultom povezanošću proaktivne uključenosti i percipirane podrške autonomiji nastavnika. Iako nismo našli povezanost proaktivne uključenosti i percipirane podrške autonomiji nastavnika, utvrđena je recipročna veza između T1 autonomne motivacije i T2 percipirane nastavničke podrške autonomiji. Neki autori smatraju da autonomna motivacija može služiti kao signal nastavnicima da postanu više podržavajući (H.-R. Jang, 2023; Patall i sur., 2019), no mehanizmi u pozadini ove povezanosti nisu u potpunosti jasni s obzirom da istraživanja pokazuju da je nastavnicima teško percipirati učeničku motivaciju koja je unutarnja (Lee i Reeve, 2012). Iz tog razloga smo spekulirali da je nađena povezanost rezultat korištenja isključivo mjera samoprocjene. Kad su učenici više autonomno motivirani, ne dolazi do stvarnih promjena u ponašanju njihovih nastavnika, već učenici percipiraju svoje nastavnike u pozitivnijem svjetlu (Schuitema i sur., 2016). Ukratko, pretpostavljamo da se ne radi se o stvarnoj povezanosti između konstrukata nego o metodološkom artefaktu.
Druga dva istraživačka pitanja odnosila su se na mračniji motivacijsk
Language identity of popular music lyricists of the Dalmatian regiolect
No full textRazličiti društveno-povijesni čimbenici nastali u razdobljima promjenjivih jezičnih politika, stoljetnih previranja po pitanju tvorbe standardnoga jezika te dugotrajnih i mnogostrukih utjecaja stranih uprava rezultirali su heterogenom slikom hrvatskoga dijalekatskog područja i promjenama u vrijednosnim percepcijama jezičnih varijeteta. Nacionalna popularnost i prestiž dalmatinskoga regiolekta od šezdesetih su godina 20. st. postignuti posredstvom medija, serijalima Velo Misto i Naše malo misto, popularnom glazbom i Festivalom zabavne glazbe Split, a u 21. st. novonastalim Klapskim valom. Tekstopisci popularne glazbe na području dalmatinskoga regiolekta svojim autorskim radom doprinose njegovoj popularizaciji. Međutim, potaknuti različitom motivacijom uz regiolekt u tekstovima koriste i druge jezične varijetete, standardni hrvatski jezik, čakavicu te autorske hibridne jezike. Cilj rada jest izraditi jezične biografije autora iz kojih će se definirati različiti jezični varijeteti kojima se služe iz svoga osobnog repertoara i koji čine njihov jezični identitet. Triangulacijom s podatcima dobivenima iz makroanalize sadržaja narativa, analize idiolekta te analize autorskih jezika istražila se polazišna tezu o kružnom procesu u kojemu se društveno-političke i jezične mijene odražavaju na idiolekte i autorske jezične odabire u glazbenim tekstovima, a koji pak, s druge strane, brzom rasprostranjivosti preko masovnih medija utječu na jezične ideologije te nacionalnu afirmaciju i popularnost regiolekta. Ovo je kvalitativno, interdisciplinarno istraživanje iz područja sociolingvistike, glazbenotekstne lingvistike, dijalektologije i jezične biografistike čiji inovativan metodološki okvir obuhvaća jezičnobiografski intervju, kvalitativnu analizu sadržaja, metode tekstne lingvistike, dodirnog jezikoslovlja i analize diskursa koja otkriva kojim diskursnim strategijama pozicioniraju varijetete te konstruiraju individualne i društvene identitete. Autorskim radom nastaju pjesme s kojima se slušatelji poistovjećuju pa je u radu predstavljen inovativan, novoosmišljeni model pjevanog diskursa u kojemu se iskazuju, izgrađuju te prenose (višestruki) identiteti. Analizom zabilježenog govora potvrđeno je da se primarni i sekundarni jezični utjecaji ogledaju u idiolektima ispitanika. Tekstna analiza pjesama potvrdila je polazišnu tezu da su jezična politika restandardizacije hrvatskoga jezika u svrhu izgradnje nacionalnog identiteta te utjecaj američke rock kulture i razvoj urbane splitske scene devedesetih godina 20. stoljeća utjecali na autore i rezultirali češćom uporabom standardnoga jezika u njihovim tadašnjim autorskim tekstovima. Također, jačanje regiolekata u 21. stoljeću, kao i osobno sazrijevanje nekih autora, rezultiralo je češćom uporabom regiolekta u tekstovima ranih dvije tisućitih godina do danas. Triangulacijom podataka svih analiza dobiveni su vrijedni odgovori na istraživačka pitanja: autori iskazuju snažan lokalni identitet; koriste više jezičnih varijeteta potaknuti različitom motivacijom; u školama se uporaba dijalektalnog govora branila ili poticala ovisno o društveno-povijesnim prilikama određenog razdoblja; posvjedočili su popularnosti dalmatinskog regiolekta u drugim krajevima Hrvatske i susjednih zemalja; osnovni motivi za njegovu uporabu u tekstovima jesu melodioznost, emotivnost i autentičnost, a istraživanje je otkrilo i promjenu u pristupu medija prema dalmatinskom regiolektu od 1960-ih do danas.Različiti društveno-povijesni čimbenici nastali u razdobljima promjenjivih jezičnih
politika, stoljetnih previranja po pitanju tvorbe standardnoga jezika te dugotrajnih i mnogostrukih
utjecaja stranih uprava rezultirali su heterogenom slikom hrvatskoga dijalekatskog područja i
promjenama u vrijednosnim percepcijama jezičnih varijeteta. Nacionalna popularnost i prestiž
dalmatinskoga regiolekta od šezdesetih su godina 20. st. postignuti posredstvom medija, serijalima
Velo Misto i Naše malo misto, popularnom glazbom i Festivalom zabavne glazbe Split, a u 21. st.
novonastalim Klapskim valom. Tekstopisci popularne glazbe na području dalmatinskoga
regiolekta svojim autorskim radom doprinose njegovoj popularizaciji. Međutim, potaknuti
različitom motivacijom uz regiolekt u tekstovima koriste i druge jezične varijetete, standardni
hrvatski jezik, čakavicu te autorske hibridne jezike. Cilj rada jest izraditi jezične biografije autora
iz kojih će se definirati različiti jezični varijeteti kojima se služe iz svoga osobnog repertoara i koji
čine njihov jezični identitet. Triangulacijom s podatcima dobivenima iz makroanalize sadržaja
narativa, analize idiolekta te analize autorskih jezika istražila se polazišna tezu o kružnom procesu
u kojemu se društveno-političke i jezične mijene odražavaju na idiolekte i autorske jezične odabire
u glazbenim tekstovima, a koji pak, s druge strane, brzom rasprostranjivosti preko masovnih
medija utječu na jezične ideologije te nacionalnu afirmaciju i popularnost regiolekta. Ovo je
kvalitativno, interdisciplinarno istraživanje iz područja sociolingvistike, glazbenotekstne
lingvistike, dijalektologije i jezične biografistike čiji inovativan metodološki okvir obuhvaća
jezičnobiografski intervju, kvalitativnu analizu sadržaja, metode tekstne lingvistike, dodirnog
jezikoslovlja i analize diskursa koja otkriva kojim diskursnim strategijama pozicioniraju varijetete
te konstruiraju individualne i društvene identitete. Autorskim radom nastaju pjesme s kojima se
slušatelji poistovjećuju pa je u radu predstavljen inovativan, novoosmišljeni model pjevanog
diskursa u kojemu se iskazuju, izgrađuju te prenose (višestruki) identiteti. Analizom zabilježenog
govora potvrđeno je da se primarni i sekundarni jezični utjecaji ogledaju u idiolektima ispitanika.
Tekstna analiza pjesama potvrdila je polazišnu tezu da su jezična politika restandardizacije
hrvatskoga jezika u svrhu izgradnje nacionalnog identiteta te utjecaj američke rock kulture i razvoj
urbane splitske scene devedesetih godina 20. stoljeća utjecali na autore i rezultirali češćom uporabom standardnoga jezika u njihovim tadašnjim autorskim tekstovima. Također, jačanje
regiolekata u 21. stoljeću, kao i osobno sazrijevanje nekih autora, rezultiralo je češćom uporabom
regiolekta u tekstovima ranih dvije tisućitih godina do danas. Triangulacijom podataka svih analiza
dobiveni su vrijedni odgovori na istraživačka pitanja: autori iskazuju snažan lokalni identitet;
koriste više jezičnih varijeteta potaknuti različitom motivacijom; u školama se uporaba
dijalektalnog govora branila ili poticala ovisno o društveno-povijesnim prilikama određenog
razdoblja; posvjedočili su popularnosti dalmatinskog regiolekta u drugim krajevima Hrvatske i
susjednih zemalja; osnovni motivi za njegovu uporabu u tekstovima jesu melodioznost, emotivnost
i autentičnost, a istraživanje je otkrilo i promjenu u pristupu medija prema dalmatinskom
regiolektu od 1960-ih do danas.1. Introduction In Croatia there is a rich history of research of its three dialects, the turbulent processes of language standardization and the status of language varieties. The specific internal variety dynamics is also reflected in language practices of popular music songwriters from the 1960s to the present day, with special notice that there was a tendency of writing lyrics in standard Croatian during the nineties. It was a war and post-war period during which political and linguistic tendencies were designed to strengthen national unity and identity. The aim of the research is to investigate the circular process in which socio-political and linguistic circumstances are reflected in author’s language choices in musical texts, which in turn through rapid media widespread influence language ideologies, national affirmation of the Dalmatian regiolect and supra-regional language norms at the lexical and phraseological level. The theoretical framework of this interdisciplinary research consists of language biographical studies, text linguistics and contact linguistics, dialectology and musical text linguistics. It uses sociolinguistic terminology, and where the research results require, Croatian dialectological terminology is applied. The research is based on the qualitative analysis of narrative interviews with ten most popular authors selected because they write in the Dalmatian regiolect and standard Croatian, in periods of significant change in language policies. The formal-functional structure of the narrative, discourse strategies used by the informants to express positioning and the construction of individual and collective identities are analysed. Furthermore, by analysing their musical texts (lyrics) it is determined whether they write in standard Croatian during the nineties and to what extent do the narrative statements about their linguistic tendencies match their actual authorial language practice. The analysis of their idiolect, recorded in the interview, determined which language variant they speak and if it matches their authorial language. All the data is then combined in order to recreate the picture of certain language ideologies in the last seventy years and to reconstruct language biographies of the most important songwriters in the Dalmatian regiolect area. 2. Theoretical framework and previous research According to Ivo Žanić (2016), the beginning of sociolinguistics in Croatia is considered to be the 1952 article by Slavko Pavešić which presented language practices of Croatian speakers as a specific dialectal situation. In 1997 Dalibor Brozović pointed out that the three dialects essentially define Croatian language and enrich it with a built-in heritage. However, such an affirmative attitude towards dialects was not viewed favourably by language purists in certain years and regional varieties were usually stigmatized and corrected as wrong within the educational system. This influenced the public perception and status of Croatian dialects and other language varieties. In the first half of the 20th century, the Adriatic area was not integrated into the national identity narrative and Katičić (2004: 14) asserted that the Dalmatian regiolect was unfairly neglected as a result of national linguistic standardization which was "performed in the light of inappropriate linguistic ideology". However, the integration of the regiolect into the national cultural and linguistic framework took place in the 1960s mainly through media, especially TV series Malo and Velo Misto, popular music and the Split Festival. A natural absorption occurred of the Mediterranean sociocultural lexicon into the Novoštokavian, standard language norm (Žanić, 2016: 195). Thus, one can say that popular music "actually corrects what the educational system often fails to set in elementary school" (Žanić, 2015a). Based on the Bourdieu's 1992 theoretical model, standard language tends to acquire a hegemonic position and prestige in relation to other varieties through the mediation of schools and through its connection with elite groups, but it seems that this is not the case in Croatia (Žanić, 2015b). The first Croatian research on the status of varieties conducted in 1988 showed that high school students actually attribute prestige to the Split and Zagreb vernaculars, as idioms of the most important urban national centres, and not to the standard language which has a reduced status (Jakovčević, 1988). More recent research (Sujoldžić, 2009; Šimičić and Sujoldžić, 2013) also show a rather low status of the standard, which "is not surprising given the frequent perception of this variant as artificial and formalized" (Sujoldžić, 2009: 101). Based on research of the role of varieties in popular music in Croatia, sociolinguist Ivo Žanić confirms that the three dialects or regional varieties – Kajkavian, South Chakavian and North Chakavian – are recognized in popular music genres. The sociolinguistic role of popular music and festivals in the emancipation of dialects and their speakers was highlighted in 1972 by linguist Ljudevit Jonke who claimed that dialects are vital thanks to music and that they transcend their local area reach. The aforementioned role of the festival was also apostrophized by Stjepko Težak (1997: 21) and Dubravka Sesar who pointed out that through the mediation of popular music and festivals dialects do not disappear but "consolidate and achieve a certain degree of autonomy" (2004: 74). The widespread of the Dalmatian regiolect started in the sixties through media and popular music and gained full national recognition in the former state of Jugoslavija during the eighties, also called the Golden period of Split Festival. A crucial historic overturn happened in 1990 when Jugoslavija started fragmentizing and the Croatian War of Independence changed political and linguistic circumstances. In Croatia the 1990s were largely characterized by linguistic purism and prescriptivism intended to distinguish Croatian from Serbian (Kapović, 2013: 392) and patriotic songs sung in Croatian by means of which politicians and linguists were empowering national identity through Croatian language independence and purity. On the other hand, it was during the late eighties and nineties when a strong urban music scene developed in Split under the influence of American and British pop and rock bands. It is notable that under both circumstances authors of popular music in the area of Dalmatian regiolect started writing lyrics in the standard Croatian variety more often than in the regiolect. Only in the region of Istria did the northern Chakavian dialect become stronger through the "Ča wave" music genre whose authors were influenced by the linguistic policy of deliberate preservation of dialects (Žanić, 2015a). In the 21st century the ideas of nation, language, and identity started being questioned under the influence of neoliberalism, globalization, and economic and political conditions that lead countries into post-nationalism (Heller, 2011). At the turn of the millennium, the three original dialects in Croatia transformed into a trinity combined of standard – Zagreb vernacular –Split vernacular (or Dalmatian regiolect), and the standard's "functional and thematic comprehensiveness was challenged", especially in media and popular music (Žanić, 2010). Various language varieties and dialects started to be heard more often in popular TV shows on national and private TV, so there seems to be more liberty in using one’s idiolect freely in media discourse and thus in music lyrics as well. Today new authors are open to linguistic innovations and use idioms creatively (Žanić, 2015a). However, their idiom is no longer an "authentic dialect" but a hybridized slang dialect (Berruto, 1994) in which the dominant distinguishing features of the Chakavian dialect are eliminated (Vranić and Zubčić, 2015: 53) and anglicisms give it a modern touch and prestige. Choosing a non-standard language variety in lyrics is thus an act of identification which enables authors to escape into linguistic anarchism and individualism (Robertson, 1994). Through their linguistic choices they position themselves in the world and define the groups they consider to be members of and those they want to distinguish themselves from (Novak, 2012: 147–199). However, Peti-Stantić and Langston (2013: 3) conclude that it is usually not possible to completely objectively describe the relations between language communities and language varieties by means of theoretically accepted classifications of languages and dialects, but it is necessary to take into account various sociolinguistic factors. Because we are reconstructing biographies in this research we are dealing with all notions of identities, individual, collective, local, regional, national, and authorial. In contemporary linguistics, researches of the connection between language and identity began with variationist sociolinguistics in the 1970s which presented results statistically. In the last few decades, under the influence of poststructuralist thought, the essentialist notion of an unchanging and permanent identity has been rejected so identities are viewed as dynamic, fluid, changing and often contradictory processes (De Fina et al., 2006; Benwell and Stokoe, 2006) and are investigated in qualitative studies. Kalogjera (2007: 261) pointed out that identity is most clearly expressed in discourse, in communicative interaction, "when a communicatively competent individual chooses expressions from one’s language repertoire by means of which one builds and expresses identity, that is, the identity of belonging to a certain group". So, when describing a speaker's identity and social roles, later approaches such as interactionist sociolinguistics started taking into account the situational context and social and discourse conventions of language use (Bamberg et al., 2007). Identity is thus expressed and built through narrative, which was defined as the oral transmission of personal experiences by Labov and Waletzki in 1967. Labov later set theoretical guidelines for the sociolinguistic analysis of narratives and Schiffrin (1996) also emphasized that the central function of the narrative is the sociolinguistic construction of identity. With the development of sociolinguistics, the narrator as the bearer of cultural and social norms, the functional characteristics of the narrative, the situational context and narrative expression of identity started being studied. In this study we adopt the concept of identity as it is determined in Western, postmodern societies, as a fragmented and plural concept and as a reflection of socio-historical circumstances (Lucius-Hoene and Deppermann, 2004), and determine in which ways and by which discourse means the authors/informants express and build their identities. Because the informants produce lyrics, which are texts intended to be sung and are thus research material in musical discourse, we adopted analytical methods of musical text analysis which determined how musical discourse is used to express identity and how it can be used as a tool for social change (Pavlovova, 2013). Sociolinguist Ivo Žanić set the framework of musical text sociolinguistics in Croatia and expanded the terminological dichotomy of two types of language discourse – spoken and written – into a triadic division by introducing the so-called sung discourse, as part of the broader musical discourse theory. In this paper we took a step forward and integrated notions from identity theories into musical discourse theory and presented a newly designed model of sung discourse with the implementation of concepts of author’s identity (Ahonen, 2007). (...)
In approaching the narrative experience, the most commonly used method is the linguistic biographical method. It was mentioned for the first time as a method of contact linguistics in the 1991 manual of German linguists Bechert and Wildgen. It is an adaptation of the biographical method firstly used in sociology and applied in analysis of sociolinguistic and contact linguistic issues (Piškorec, 2007: 457). It provides a differentiated perspective on language acquisition processes and language use enabling a direct insight into how individual experience is connected to social context (Piškorec and Zelić, 2006: 278). In European tradition, language biographies are collected through biographical interviews of informants in order to reconstruct their linguistic biographical trajectories (Nekvapil, 2000; Franceschini, 2003). Narrative data are then often triangulated e.g. combined with socio-historical and socio-political data (Abramac, 2014: 96). In Croatian linguistics some papers deal with linguistic construction of ethnic identity (Starčević, 2014; Abramac, 2014; Ščukanec, 2017; Grgić, 2018), certain aspects of personal identity construction (Bertoša and Novak, 2014; Podboj, 2019) and narrative identity reconstruction in linguistic biographical narratives (Piškorec, 2007). This interdisciplinary research will implement the language biographical method within a theoretical framework based on sociolinguistics, dialectology and musical text linguistics. 3. Research objective and hypotheses. The aim of this work is to recreate language biographies of popular music lyricists from the Dalmatian regiolect area and thus define their linguistic identities. The fractal identity theory was researched by determining primary language influences, in the family, and secondary influences of education, peers, and socio-historic linguistic circumstances, which combined result in the creation of one's personal language repertoires, idiolects, language ideologies, and authorial languages, i.e. one's language identity. The first thesis is the existence of a circular process in which firstly socio-historic, linguistic circumstances and language ideologies are directly reflected in authorial languages, with emphasis on the reflection of standardization policies and national identity of the newly formed state of Croatia as well as the influence of rock’n’roll urban culture in the 1990s. Secondly, due to a massive, widespread reach through rapid media dissemination those authorial language choices in popular lyrics influence national language ideologies, the perception and status of the regiolect, and also influence the standard Croatian language norm. The second thesis is rooted in the postmodern notion that a person’s identity is of a fractal nature. Thus, language identity consists of various language varieties that are part of a person’s language repertoire from which the speaker consciously or unconsciously selects language items depending on the speaking situation, topic, location or interlocutor. The repertoire of each person is like a collage gradually built from birth, under t
The modernism of Kosta Angeli Radovani's figural sculptures
No full textDoktorska disertacija Modernizam figuralne plastike Koste Angelija Radovanija bavi se utvrđivanjem modernističkih značajki i izvora modernizma figuralne plastike Koste Angelija Radovanija (1916. – 2002.), te istraživanjem njegova cjelokupna opusa. Provedena je sustavna i cjelovita monografska obrada kiparskog opusa u kontekstu onodobne nacionalne i međunarodne likovne scene, te je prvi put sastavljen katalog svih poznatih djela ovog umjetnika. Istraženi su akt i portret, medaljerski opus, javna skulptura, spomenička plastika, crtež i grafika, njegov spisateljski opus, pedagoški doprinos te kulturno-društveni angažman. Učinjena je analiza i vrednovanje spomeničke i komorne plastike i načina rada, definiranje tipologije kao i interpretacija akta i portreta te formalna analiza i valorizacija važnijih radova. Djela su sistematizirana po vrsti, tehnici, temi i kompozicijskim rješenjima, te stilskomorfološkim značajkama. Istraživanje je dovelo do nekoliko novih hipoteza o ovom kompleksnom opusu, počevši od teze o dugotrajnom formativnom razdoblju. Utvrđeno je da iako nikada nije napustio figuraciju i prepoznatljivost antropomorfnog motiva te se koristio tradicionalnim materijalima i oblikovnim načelima, na formalnoj i konceptualnoj razini njegov način oblikovanja pripada umjerenom modernizmu. Taj se oblik modernizma razlikuje od prevladavajućeg apstraktnog izraza koji je u Hrvatskoj obilježio stilsku pojavu poslijeratnog visokog modernizma. Opus Koste Angelija Radovanija za dio likovne kritike nije bio dovoljno avangardan, a za drugi dio stručne javnosti nije bio dovoljno tradicionalan. Istraživanje je pokazalo da je uvodio inovacije u prikaz akta i portreta, te da je u tom području oblikovanja ostvario značajan doprinos u hrvatskom poslijeratnom kiparstvu modernizma. Ovo istraživanje, među ostalim, upućuje na to da je pri formiranju modernističkog izraza asimilirao mnogobrojne utjecaje – kiparstvo europskog modernizma, utjecaje izvaneuropskih kultura i drugih vrsta »primitivizama« i arhaizama. Disertacija donosi nove spoznaje o radu i djelovanju autora koje nadopunjuju, proširuju, te omogućuju novi pogled na neke aspekte dosadašnjih istraživanja kao i na cjelokupan opus. Ostvario je jedinstven i prepoznatljiv opus koji predstavlja značajan doprinos hrvatskoj i europskoj modernističkoj figuralnoj plastici.The doctoral dissertation focuses on the determination of modernist features and sources of modernism in the figural sculpture of Kosta Angeli Radovani (1916–2002), as well as on the research into his entire artistic oeuvre. A systematic and complete monographic analysis of his sculptural oeuvre was carried out in the context of the local and international artistic scene of the time. Figurative sculpture (nude and portrait), medal design oeuvre, public sculpture, memorial monuments, drawing, and prints were explored. The dissertation brings an interpretation of his creative oeuvre, as well as new knowledge of his pedagogical contribution and his cultural and social involvement. An analysis and evaluation of memorial and intimate sculpture and methods of work, the definition of typology as well as the interpretation of nudes and portraits and formal analysis and valorization of his more important works were carried out. The works were systematized by type, technique, theme and compositional solutions, as well as by stylistic and morphological features. After collecting data on the works, and, where necessary, also on their attribution, dating and photography, a catalog of all known works of this artist was created for the first time. Then, we analyzed the modernity of his artistic approach to the traditional theme of nude and portrait, which he formed using traditional materials and shaping principles. All this led us to new knowledge about the artist's work and activity. At the beginning of the dissertation, we set up the hypotheses for the scientific research work: 1. Although he never abandoned the figuration and recognizability of the anthropomorphic motif—using traditional materials and shaping principles—on a formal and conceptual level, his style of shaping belongs to moderate modernism; 2. He introduces innovations in the representation of nudes and portraits; 3. In the field of shaping female nudes and portraits, he makes a significant contribution to Croatian post-war sculpture of modernism; 4. Kosta Angeli Radovani's version of modernism differs from the prevailing abstract expression that, in Croatia, was associated with the concept of post-war modernism (for some, it was not avant-garde or traditional enough); 5. During the formation of modernist expression, he assimilated numerous influences — the sculpture of European modernism, the influences of non-European cultures, and other types of "primitivisms" and archaisms. In the introductory chapters, the methodology, hypotheses, and objectives of the scientific research work are presented, as well as is an overview of earlier research and critical reviews of literature. Then, the socio-political context and its influence on the sculptor's formative period were analyzed. A thesis is presented about the unusually long formative period (1926– 1952), which was divided into two parts—conditioned by both the social and artistic as well as cultural context, and by life circumstances of Kosta Angeli Radovani. The first part of the formative period includes the childhood and the creation of student works, as well as studies at the Brera Academy in Milan. When he went to study in Milan, he left the original influences of classics, then French modern sculpture, Aristide Maillol in the nude, and Charles Despiau in the portrait. At that time, his approach to shaping and interest in the subjects of nude and portrait was directed by his professor, a post-Donatellian artist Francesco Messina, who taught sculpture guided by the syntagm, "Do not invent!". The Italian art was dominated by figuration, and Milan was the center of the artistic movement of the Novecento. He gained insights into recent phenomena by following the program of Milan's avant-garde Galleria il Milione, which exhibited abstraction, as well as by studying works of sculptors who introduced modernism into the shaping of traditional subjects of nude and portrait (Arturo Martini, Giacomo Manzù, Marino Marini). He assimilated further influences during his numerous student trips through Italy. He was particularly impressed by the art of Etruscans, ancient Egyptians, and other ancient civilizations, as well as by medieval heritage. Presented are the circumstances and direct influences that determined the formation of his artistic expression. The source of his specific modernism is also analyzed and interpreted. After completing his studies and returning to Zagreb, the second part of his formative period begins (1939–1952). He spends the war years in Zagreb, where he attends a specialization at the Academy of Fine Arts in Zagreb. Until 1945, the bulk of his oeuvre consists of female nudes, portraits, and drawings that show the sculptor's need to free himself from previous influences, searching for his own expression. In that period, there is an increasingly pronounced stylization and reduction of the representation. After the end of the war, Angeli Radovani adjusts to the socio-political circumstances of the time. Socialist realism was a politically and state imposed doctrine, so, in the artistic expression, there were changes in themes of representation and shaping. Angeli Radovani covers the then naked female body with clothes because the motif of the nude is contrary to new socialist morality. He shows figures in the context of labor and social responsibility. The volume is closed, and the selection of themes limited. Until the end of the 1940s, he models within the framework of a realistic style of shaping, while his portraits of national heroes are influenced by socialist realism. For his Portrait of Nada Dimić (Portret Nade Dimić; 1947) he won the third prize of the Committee for Culture and Art of the Government of Socialist Federative Republic of Yugoslavia in 1948. Angeli Radovani participates in two public competitions for monuments, which was a new theme in his sculptural oeuvre (a monument to the Croatian poet Silvije Strahimir Kranjčević and The Monument to the Uprising of the People of Drežnica [Spomenik ustanku naroda Drežnice], which won the second prize and was realized in the village of Drežnica in 1949). A new impetus for a shift in the manner of his expression arises during a study trip in 1950– 1951. He travels through Italy, France, Belgium, and Switzerland, studying the art of nonEuropean cultures, absorbing the power of their simple, cubic forms. This is the time when his formative period ends, and the phase of mature expression begins. He works and researches a lot to find his own expression. This leads him to refine his sculptural language and establish a new idea of sculpture that would surpass all previous symbolisms, classicisms, and academicisms. His first solo exhibition in 1952 was also the first solo exhibition of a sculptor after the Second World War. The free choice of the theme of representation (nude) and the way in which he stylized the nude and the portrait heralded changes. The exhibition arouses numerous reviews in the press as well as polemics. After the chapter in which the presence and reception of the mature and late oeuvre of Kosta Angeli Radovani was researched, the figural sculpture that gained its full expression in the mature period of his creation was also researched. He abandons idealization, narrativeness, and realism in the representation of the body, the representation is reduced, and the surface of the sculpture intentionally unpolished and unfinished, which evokes a tactile experience. On the surface, there are visible traces of shaping by fingers and palm, the signs of the sculptor's physical gesture. Anatomical arbitrariness is visible in the shaping of the elements of some sculptures. The sculptor does not shy away from deformations and ugliness in order to achieve an expressive, sometimes grotesque impression. The feet, hands, thighs, and buttocks are oversized, which points to the simplicity of "primitivist" forms. He draws inspiration from the creations of non-European cultures and from various archaisms. He increasingly applies stylization and the speech of the masses; the nudes are voluminous, and the need to investigate various sculptural problems results in the execution of numerous variations of the same theme. He is engaged in the research into various relations of compositional elements, such as figure and pedestal, the closedness and openness of the mass to space, the flatness and saliency of the volume of sculpture, the polishedness and roughness of surface, which in some works joins at sharp edges contrary to anatomical accuracy. In a special chapter, the sculptural cycle The Quince (Dunja; 19 variations, 1957–1986) is interpreted, with which he reaches the pinnacle of sculptural research, creating distinctive variants of a lush, mature female body. In some examples, he reduces certain parts of the body to round geometric bodies (cylinder, sphere), or stylizes them to the edge of abstraction. He never abandoned the recognition of the motif, which was his conscious choice. Until 1963 dominates the nude in standing position, but then the seated nude prevails, which intrigues him with immense possibilities of composing numerous variants while searching for a balance of elements. They are connected by the principle of building the mass from the core. He innovates the role of the pedestal, which he either abolishes or integrates into the sculptural solution (it is part of the cast, or he chooses a wooden stump, an iron rail, on which the figure is seated). By analyzing his mature sculptural oeuvre, we determined various formal and stylistic features in the manner of his shaping. In the nudes, we distinguish between three ways of modeling: round volumes and organic forms, then organic forms that he, in individual parts, cubizes and shapes with flat surfaces that are joined at sharp edges, and more radical modeling by decomposing round volumes through the process of geometrization and cubizing. The representation of female nude, as the dominant theme of the sculptor's work— viewed in the context of "primitivist" art—can also be interpreted as a symbol of natural cycles, the primordial, and the fertility. The commitment to depicting human figure stems from personal humanism, but also from the artistic climate that prevailed after the Second World War, and which, after the Holocaust and the era of the atomic bomb, aroused the interest of a group of artists while returning to the sources, the pre-cultural and the prerational. The portrait, which is the sculptor's second major theme, is explored in separate chapters. In addition to memorial portrait sculptures, he also modeled portraits of acquaintances and academicians, renowned personalities from Croatian culture, art, history, and science. He made portraits to order, but also on his own initiative, attracted by an interesting, unusual physiognomy or personality and achievements of the person he portrayed, and motivated by the desire to solve a new artistic problem. Already during his schooling he models portraits under the influence of academic realism and other influences. He gets rid of these influences with portraits created during the war, when he abandons description and idealization. After a short period of modeling portraits in the spirit of socialist realism, in the early 1950s comes a shift toward more modern expression. Important for finding his own expression was his knowledge of the portrait oeuvres of Marino Marini and Marcel Gimond. In the voluminous portrait oeuvre of Kosta Angeli Radovani, we determined the existence of two dominant stylistic and morphological approaches—in the first, the face is elongated, the surfaces follow the bones of the skull, and the surface of the face is furrowed with lines, with which he achieves expressiveness, while in the other approach, there is a reduction of descriptive elements to essential physiognomic features of the portrayed, the volumetric thickening, and a higher degree of geometric stylization, emphasized abstraction, and abandonment of psychologization. From this approach, with further stylization, he started to emphasize geometrization. He modeled some portraits in multiple versions, returning to them in various time periods as they were stimulating for him in his solving of certain sculptural problems. It is the shaping, which focuses on shaping phenomena and research of form—rather than on the similarity to the model—that the elements of modernism are most present. He strove to present the key physiognomic characteristics and the unique character of the portrayed in a synthetic manner and with reduced means. He created a unique gallery of portraits of unknown persons, but also of those working in the public, such as renowned art historians like Kruno Prijatelj, Ljubo Karaman, the archaeologist Grga Novak, academicians, musicians, directors, and other people from cultural, scientific, and public life. By choosing various physiognomies and characters, he went beyond the individual level, presenting a general, universal image of man. He also created a notable oeuvre of relief portraits in the medium of portrait medal. These are predominantly portraits of people from public, cultural, and scientific life, as well as academicians whom he was modeling from 1963 to 2000. He mostly adhered to the traditional circular shape of the portrait medal. The representation is on the obverse, while the reverse is empty. His most significant medal design achievement is the Rector's Chain (Rektorski lanac; 1969). For medals, he uses two modeling methods. In one group of works there is an emphasized geometric stylization and harder modeling, while in the other group, there is softer modeling, a greater degree of reduction and highlighting of the experience of a person's character, as well as organic forms. He is focused on a condensed representation of physiognomy and the transfer of the experience of the portrayed. He does not elevate it to a symbol, a sign, which is the case in the classic medal design approach, but freely interprets it. The excellence of the portrait is manifested in the use of minimal visual artistic elements with which he achieves maximum expression. In the consistent shaping of the portrait, we find his unique contribution to and significance in the corpus of Croatian medal production. We found that the elements of modernism are manifested in the terseness of representation and the reduction of details, as well as in the emphasized stylization. Special chapters are devoted to drawing and print, which, until now, have been a less wellknown and poorly analyzed part of his oeuvre. For Kosta Angeli Radovani, drawing was his favorite art technique. With the help of drawings, we can follow the development of his artistic thinking, as well as changes that occurred in various stages of his creation. He used drawing in a wide range of forms, from sketches, with which he developed his ideas for sculptures and the reflection of body in space, to drawing as an independent visual artistic discipline, a rounded work of art. At the same time, he uses various artistic possibilities of drawing by using line—as a legible trace of gesture and movement—as well as spots. He creates drawings that are characterized by lightness and refinement, but also by power that he achieves with a clean, strong line. He achieves a range of representations from flat—made with a clean line—to voluminous, which are created by shading with pencil, charcoal, watercolor, or some other visual art technique. In drawing, the representation experienced a greater degree of deformity than in sculpture, motivated by a greater need for experimentation, creative freedom, and the specific qualities of the visual art technique. In two drawings created in 1957, he reached the edge of abstraction by reducing the representation and by radical geometric stylization. With drawings he also created templates according to which to make prints. The most common motifs are portraits and nudes – from the intimacy of The Quince or female nudes in the artist's studio, to the vortex of eroticized bodies playing and dancing. In prints, the central motif is a group of figures with emphasized movements and gestures, while the most common themes of representation are the struggle for freedom and justice. Along with the line with which he describes the scene, he also uses pure colors for the representation of the background and the volume of figures. Modernist features can be found in the deformities and expressive lines used to create the representation, as well as in the terseness and stylization of the representation. Monumental solutions are a less well-known and, so far, an only partially analyzed segment of the sculptural oeuvre of Kosta Angeli Radovani. This research has shown that, as a creator or co-creator, he had sixteen realized and fifteen unrealized projects. A special group consists of portrait sculptures placed in public spaces or in interiors of public institutions, cultural, and school facilities. By analyzing the entire oeuvre, the typology of memorial sculpture was established. This comprises reliefs, memorial figures (solid sculpture), spatially and sculpturally complex memorial solutions, as well as portraits and busts of real persons. Realized and unrealized solutions are dealt with in separate chapters, and, within this broader division, solid sculpture, relief, and monumental portraits and busts created for public spaces constitute separate units. From his earliest memorial solutions, he collaborated with architects. The ratio of creative contribution of the sculptor and the architect depended on the character of work. In the case of more complex memorial solutions, the architect's part was more emphasized in the design of architectural elements, while the sculptor's contribution was more pronounced in the sculptural execution of relief. The involvement of the architect in the elaboration of the conceptual project shows a high degree of responsibility of the sculptor toward the intervention in public space, and the need for each segment of the planning and execution of the artwork to be at a high professional level. He created monuments dedicated to work, while one unrealized monument is dedicated to workers' self-management, which is a rarity among post-war monuments. In addition, in several executions he shows female figures, which is also found in a smaller number of postwar memorial solutions. In the realized monuments, we can see a stylistic and morphological range from realistic monumental figural works (Monument to the Uprising of the People of Drežnica [Spomenik ustanku naroda Drežnice; 1949]), reliefs with narrative representations, to monuments characterized by modernist features through the reduction of elements, geometric stylization, and cubic construction of volumes (Macedonian Woman [Makedonka, 1956–1961]; Monument to Vjekoslav Karas [Spomenik Vjekoslavu Karasu, 1974]). In the execution of reliefs with figural themes, he applies geometric stylization, and, in this area, also modernizes the representation of figures. The most significant and the only spatially and sculpturally complex memorial solution realized is the Memorial Park to the Shot (Spomenpark strijeljanih) at Šubićevac in Šibenik (1961–1984), which he realized in collaboration with Zdenko Kolacio. The modernistically refined geometrized architectural elements establish a symbolic relationship with the place of exec
Trends in newspaper criticism of Croatian feature fiction films from 2001 to 2019
No full textU središtu je ove disertacije znanstveno istraživanje suvremene novinske filmske kritike hrvatskih dugometražnih igranih filmova. Primjenom različitih metoda analiza medijskog teksta (prvenstveno kvantitativno-kvalitativnom analizom sadržaja) i dubinskim intervjuima s kritičarima dnevnih novina analizirani su različiti aspekti novinskih kritika i hrvatskih filmova. Cilj je bio ovim istraživanjem ukazati i na osobitosti suvremene hrvatske novinske filmske kritike. Istraženi su, nadalje, trendovi i promjene u načinu praćenja, analiziranja i kritičkog vrednovanja hrvatskog dugometražnog igranog filma u dnevnom tisku u kontekstu hrvatskog sociokulturnog okruženja u 21. stoljeću. Pokazalo se kako se u razdoblju od 2001. do 2019. godine u dnevnim novinama kritička recepcija hrvatskog filma promijenila iz neutralne u pretežno pozitivnu, te se utvrdilo povezivanje zaključaka kritika i širih društvenih pitanja, veća razina afirmativnosti kritike prema filmovima za koje se smatra da ukazuju na aktualne društvene probleme, te mala razina senzacionalizma uredničkih naslova kritika. Također su predstavljeni, sintetizirani, analizirani i komentirani rezultati pripremnog istraživanja, a kojim se utvrdilo, uz analizu kritičarske argumentacije i društvenog konteksta u navedenom razdoblju, koji su kritički najpozitivnije, a koji najnegativnije ocijenjeni hrvatski igrani filmovi, redatelji i žanrovi, na koje načine hrvatski igrani film pridonosi pluralizmu predstavljanja društvenih tema. Rezultati ovog istraživanja pružaju znanstvene uvide u osobitosti i trendove suvremene hrvatske novinske filmske kritike, a što predstavlja novost u nacionalnoj znanstvenoj literaturi i znanstveni doprinos istraživanju hrvatskog novinarstva. Utvrđivanjem osobitosti suvremenog hrvatskog dugometražnog igranog filma kao masovnog medija današnjice iz perspektive dnevne novinske filmske kritike, u kontekstu informacijskih i komunikacijskih znanosti (iz grana novinarstva i masovnih medija) i znanosti o umjetnosti (iz grane filmologije), ova je disertacija dala i relevantan multidisciplinarni doprinos proučavanju suvremenog hrvatskog filma.The focus of this doctoral dissertation is the scientific study of contemporary Croatian newspaper film criticism of Croatian feature films. Different aspects of newspaper criticism and Croatian cinema were analysed using different methods of media text analysis (primarily quantitative and qualitative content analysis) and in-depth interviews with daily newspaper critics. The main aim of the research was to show the specificities of contemporary Croatian newspaper film criticism. Furthermore, trends and changes in the way of covering, analysing, and critically evaluating Croatian feature films in the daily press in the context of the Croatian socio-cultural environment in the 21st century were explored. The research shows how in the period from 2001 to 2019, the critical reception of Croatian films in the daily newspapers changed from neutral to predominantly positive, the conclusions of critics were connected to broader social issues, there was a higher level of affirmative criticism towards films that were considered to indicate on current social problems, and there was a low level of sensationalism in editorial headlines. It also presents, synthesizes, analyses, and comments on the results of the preliminary research that determined, always along with the analysis of critical arguments and the social context in the
mentioned period, which are the most positive and most negatively evaluated Croatian feature films, directors and genres, and in which ways Croatian cinema contributes to the pluralism of the representation of social topics.
The results of this research provide scientific insights into the specificities and trends of contemporary Croatian newspaper film criticism, which is a novelty in the national scientific literature and a scientific contribution to the research of Croatian journalism. By establishing the specificities of the contemporary Croatian feature film as contemporary mass media from the perspective of daily newspaper film criticism, in the context of Information and Communication
sciences (Journalism and Mass Media) and Art Science (Filmology), this dissertation also made a relevant multidisciplinary contribution to the study of contemporary Croatian cinema. The dissertation is divided into nine chapters. In the introductory chapter, the subject of the dissertation, the research objectives and hypotheses, the structure of the dissertation, a review of the literature important for the theoretical treatment of the topic and the scientific contribution of
the work are presented. The second chapter describes the basic concepts important for understanding the content of the dissertation and their main features: journalistic genres, criticism and newspaper criticism, film criticism and newspaper film criticism. The third chapter deals with the origin and development of film criticism in the world and in Croatia, and then with the Croatian newspaper film criticism and Croatian feature film in the 21st century: critical reception of Croatian film directors, genres of Croatian feature film and analysis of social themes and subjects in Croatian film. The fourth chapter describes the research methodology: all hypotheses were tested by quantitative-qualitative content analysis and in-depth interviews, and the dissertation also uses inferential statistics in order to formally test hypothesis H3. At the end of the chapter, the results of the research are presented, i.e. the analysis and comparison of the results of the conducted
research, which prove each of the 4 hypotheses. The fifth chapter is the discussion, and the sixth is the conclusion of the entire dissertation, especially the research results. An overview of scientific literature, is listed in the seventh chapter, appendices (code sheet, in-depth interview protocol, and list of newspaper reviews from printed editions and online editions) in the eighth, and the author's biography and published works in the ninth. The dissertation determined how the critical reception of the Croatian feature films changed from neutral to predominantly positive during the period. Critical reception can be described by a neutral (average) average rating of 2.88 in the first year of research, 2.89 in the first three and four years, and 2.90 in the first five years of research, while at the end of the period covered by the research,
critical reception is predominantly positive, as assumed in the hypothesis, with a score of 3.66 in the last year of research, 3.51 in the last three years and 3.5 in the last 4 years. The difference in the earlier and later periods of the analysed period is also visible in the result pointing that, according to critics' evaluations, extremely bad films are produced less often in later periods, and that in later periods there are more films rated moderately and extremely positively. Critics point out that they link their negative critical reception of Croatian films (and that of their colleagues
from other daily newspapers) to the 1990s, and not to films from the beginning of the 21st century, for which they give a relatively low, but still average, rating. It was established that newspaper reviews of Croatian feature films are characterized by drawing conclusions in connection with wider social issues, thus confirming the theoretical assumptions of newspaper film criticism that Žigo and other theorists of criticism highlighted in their works. 29% of reviews were characterized by a strong level of conclusions regarding social issues, 51% fair, 20% moderate, and 0.68% low. The average recorded level of drawing conclusions in connection with broader social issues in all three analysed lists is 4.08. During the years covered by the research, there were no significant deviations: the lowest level of 3.81 was recorded in 2003 and 2018, and the highest 4.32 was recorded in 2009, so in all the researched years the average level was considerable. Critics point out that the reason for drawing conclusions in connection with broader social issues, apart from their critical interests, are the topics that Croatian films deal with, because Croatian cinematography less often films escapist genre productions, and more often dramas from Croatian everyday life. It was also established that Croatian newspaper film critics predominantly wrote more affirmatively about Croatian feature films that they considered to indicate current social problems, than about those that did not. Films rated with extremely and moderately positive reviews had a
fair level of pointing out social problems (4.34 and 4.06), as well as neutral (average) rated ones (3.54), while moderately and extremely negatively rated films had a moderate level of pointing out to social problems (3.04 and 2.78). The research showed that critics mostly emphasize that they value socially relevant films, but only if they are of high quality, which was also confirmed by the research of their reviews. There are several examples according to which it can be noted
that social criticism by itself cannot bring positive criticism to a film that does not have the appropriate qualities. Thus, socially critical films received generally more positive reviews than socially non-critical ones due to the greater overall quality that most of them were distinguished by, and not only because of film critics' affinity towards social criticism. The editorial titles of criticism of Croatian feature films in Croatian daily newspapers were to a small extent sensationalistic, and mostly objectively reflected the views of the authors. The titles studied were, depending on the critics and editors, interesting, informative, funny, intelligent, ambiguous, likeable, intriguing or provocative, and the level of sensationalism ranged from the level of not at all (36%), very little (51%) to moderate (13 %), with an average low level of 1.78, without quite or extremely sensational headlines. Titles that are moderately sensational are often characterized by exaggeration, they often refer to popular culture (songs, sayings, books and films), but mostly objectively reflect the critic's attitude. Editors generally readily accepted the most intriguing theses, quips or comparisons offered by critics in their texts. Critics point out that newspaper headlines can be sensationalistic and reflect the author's position, just as they can falsify the author's position without being sensationalist at all, and the analysis of their criticisms shows that there were all the cases mentioned, so the sensationalism of the headlines should not be equated with the non-objective presentation of the critic's position. The most positively evaluated directors by critics among those with three or more films from 2001. till 2019. were Rajko Grlić, Ognjen Sviličić, Zrinko Ogresta, Vinko Brešan, Antonio Nuić, Arsen Anton Ostojić, Dalibor Matanić and Kristijan Milić, with a note that according to critics' ratings, filsm made by Grlić, Brešan and Ogresta had the most consistent quality. The most negatively evaluated directors among those with two or more films in this period are Vicko Ruić, Zdravko Mustać, Filip Šovagović, Jakov Sedlar, Fadil Hadžić and Krsto Papić. No female director made 3 feature films in this period, and only Snježana Tribuson made 2. Nevertheless, women directed some of the highest-rated films in this period. At the top of the list is Hana Jušić, Dana Budisavljević and Ivona Juka are among the highly respected, followed by Snježana Tribuson. The most positively rated Croatian films by newspaper film critics are Hana Jušić's Quit Staring at my Plate and Dalibor Matanić's High Noon, while the third on the list is A stranger by Bobo Jelčić. The most negatively rated Croatian films by newspaper film critics are The Recollection Thief and Seraphim, the Lighthouse Keeper's Son by Vicko Ruić, followed by Remembrance of Georgia by Jakov Sedlar and The Enchanting Porkers by Ivan Livaković. Croatian films in the 21st century that received the most positive reviews most often belong to the genre of social-psychological drama contemporary drama, the second genre is action, while the third is war drama. Among the genres whose representatives received the most negative reviews in the 21st century, road films, erotic films and biographical historical dramas are leading the way. Thematically speaking, global themes were definitely never the focus of Croatian directors, who mostly dealt with domestic problems and motives. Croatian cinematography dealt with the subject of violence and torture in many ways, intensively and, according to critics, competently, from historical (from the Second World War to the Croatian Homeland War) to contemporary subjects (terror against sexual minorities in Croatian society, fan hooligan violence), and the treatment of these subjects created some of the most appreciated film productions of that period. Regarding national minorities, the Serbian minority in Croatia was the most common film inspiration. Croatian films undoubtedly point to the activities of economic and political power holders, but cautiously and somewhat abstractly. Even the bravest directors did not pass their critical judgment on some specific political names from Croatian politics through their films, and with the exception of Vinko Brešan, almost no one dealt more seriously with the characters of Croatian prime ministers and presidents, but even in his films we can see general characters of politicians who cannot be related for some concrete Croatian political figures. There are very few films that have caused wider social controversies. Analysing the diversity of the angle of view of individual directors, i.e. their approach in the presentation of key social themes in Croatian feature films, we come to the conclusion that the most socially critical director was Vinko Brešan (with the themes of war crimes of Croatian soldiers, sexual abuse of children by priests and political manipulation), and then Branko Schmidt (with topics about young thugs and drug addicts, crimes within the healthcare system and
pedophilia in the Church). This dissertation provides a relevant scientific contribution to the study of contemporary
newspaper film criticism, as well as contemporary Croatian journalism in general. The results obtained in this doctoral dissertation provide scientific insight into the specificities of contemporary Croatian newspaper film criticism, but they also contribute to the positioning of newspaper film criticism in the context of journalistic discourse, pointing to the specifics of
newspaper film criticism as a journalistic genre which, in this sense, should be understood beyond the narrow links with literature and filmology, in the context of daily newspapers in which reviews are published and by connecting the conclusions with socially relevant topics. It should be emphasized that the proposed research model, taking into account the specifics of theatrical and literary works, could be applied to newspaper literary and theatrical criticism