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The impact of artificial intelligence on argumented discourse
No full textOvaj rad analizira utjecaj umjetne inteligencije na argumentirani diskurs, s naglaskom na njezinu primjenu u društvenim mrežama, novinarstvu, akademskom pisanju, obrazovanju i strukturiranim debatama. Posebna pažnja posvećena je generativnim modelima umjetne inteligencije, poput ChatGPT-a, te naprednim sustavima poput IBM-ovog Project Debater, koji pokazuju sposobnost oblikovanja složenih argumentiranih rasprava. Rad se bavi tehničkim aspektima obrade prirodnog jezika (NLP), uključujući metode strojnog učenja, duboke neuronske mreže i postupak finog podešavanja (fine-tuning). Naglasak je na sposobnosti umjetne inteligencije da generira uvjerljive argumente i sudjeluje u diskursu s ljudskim govornicima. Također se razmatra uloga umjetne inteligencije u procesima informiranja i stvaranja sadržaja, kao i njezina sve češća primjena u analizi i generiranju tekstova u akademskim i medijskim okruženjima. Rad daje pregled razvoja i trenutnih mogućnosti umjetne inteligencije u području argumentiranog diskursa te razmatra kako njezina integracija može utjecati na kvalitetu i oblik javnih rasprava u budućnosti.This paper analyses the impact of artificial intelligence on argumentative discourse, focusing on its application in social media, journalism, academic writing, education, and structured debates. Special attention is given to generative AI models such as ChatGPT and advanced systems like IBM’s Project Debater, which demonstrate the ability to construct complex argumentative discussions. The study explores the technical aspects of natural language processing (NLP), including machine learning methods, deep neural networks, and the fine-tuning process. Emphasis is placed on AI’s capability to generate persuasive arguments and actively participate in discourse alongside human speakers. Additionally, the paper examines AI’s role in information processing and content creation, as well as its increasing use in analysing and generating texts in academic and media environments. This paper provides an overview of the development and current capabilities of AI in the field of argumentative discourse, discussing how its integration may shape the quality and structure of public discussions in the future
Istraživanja fonetike i fonologije slavenskih jezika: Zbornik radova Konferencije Komisije za fonetiku i fonologiju slavenskih jezika Međunarodnoga slavističkog komiteta u Zagrebu 2021
No full textIstraživanja fonetike i fonologije slavenskih jezika je zbornik radova s Konferencije Komisije za fonetiku i fonologiju slavenskih jezika Međunarodnoga slavističkog komiteta održane u Zagrebu 30. rujna i 1. listopada 2021. godine. Na konferenciji je sudjelovao 21 sudionik iz šest zemalja (Češka, Hrvatska, Sjeverna Makedonija, Poljska, Slovačka, Slovenija), a u dvodnevnom radu konferencije izloženo je 17 radova. Na konferenciji se raspravljalo o teorijskom odnosu fonologije i fonetike i semantike, o primijenjenim suvremenim instrumentalnim istraživačkim metodama (artikulografija, ultrazvuk, govorna sinteza i elektronička korpusna lingvistika), vremenskim karakteristikama govora, strukturi sloga, fonetskim dodirima jezika, doprinosu nekih znanstvenika razvoju fonetike, ortoepskim pitanjima, dakako sve povezano s pojedinim slavenskim jezicima. Za zbornik je pripremljeno deset radova, devet sa spomenute konferencije, a jedan s jedne od prijašnjih, koje su recenzirali međunarodni recenzenti iz Poljske i Slovenije, te je uz potporu Ministarstva znanosti i obrazovanja, Odsjeka za fonetiku, Odsjeka za kroatistiku, Erste banke i Melite Olanović ovaj zbornik pripremljen za objavu
Ethnography in film : analysis of contemporary ethnographic and documentary films
No full textOvaj diplomski rad istražuje etnografiju u filmu, fokusirajući se na vizualnu antropologiju i analizu suvremenih etnografskih i dokumentarnih filmova. Rad postavlja istraživačka pitanja o definiciji etnografskog filma, njegovoj teoriji, povijesti i relevantnosti za vizualnu antropologiju. Cilj rada je prikazati načine na koje se etnografija predstavlja u filmu, s evaluacijom i analizom unutar žanrova etnografskog i dokumentarnog filma. Rad se temelji na analizi odabranih filmova i intervjuima s njihovim autorima, uz proučavanje ključnih autora vizualne antropologije i analizu najvažnijih etnografskih filmova. Kroz analizu, rad nastoji pružiti dublji uvid u etnografski film i njegovu ulogu u vizualnoj antropologiji, nudeći sveobuhvatan pregled teorije, prakse i izazova u ovom području.This thesis explores ethnography in film, focusing on visual anthropology and the analysis of contemporary ethnographic and documentary films. It poses research questions about the definition of ethnographic film, its theory, history, and relevance to visual anthropology. The aim of the thesis is to show the ways in which ethnography is represented in film, with an evaluation and analysis within the genres of ethnographic and documentary film. The thesis is based on the analysis of selected films and interviews with their authors, along with the study of key authors of visual anthropology and the analysis of the most important ethnographic films. Through analysis, the thesis seeks to provide a deeper insight into ethnographic film and its role in visual anthropology, offering a comprehensive overview of the theory, practice and challenges in this area
Croatian Teachers’ Strategies for Reducing EFL Students’ Foreign Language Anxiety
No full textThis Master's thesis explores foreign language anxiety (FLA) in the context of EFL learners and teachers in Croatia. FLA is a significant challenge in language classrooms around the world for various reasons. Firstly, it negatively affects learners psychologically and physically. Secondly, if it is not addressed properly, it may also hinder learners’ school performance and ultimate foreign language acquisition. Furthermore, research has found that FLA often remains a lifelong problem. This is why it is essential that teachers have a good understanding of this problem and strategies they may use to help their students. While extensive research has been done on the topic of FLA, there is a gap in research on this topic from the perspective of EFL teachers in Croatia. Therefore, this thesis addresses two research questions: (1) whether Croatian EFL teachers are aware of the issue of FLA and its negative role in language learning, and (2) which strategies, if any, Croatian EFL teachers use to reduce FLA in their students. The results show that Croatian EFL teachers are mostly aware of what FLA is and how it affects students. The results also show that Croatian EFL teachers employ an array of different evidence-based strategies to help students reduce their FLA.Ovaj diplomski rad istražuje strah od stranoga jezika u kontekstu učenika i nastavnika engleskoga kao stranoga jezika u Hrvatskoj. Strah od stranoga jezika značajan je problem u učionicama stranih jezika diljem svijeta iz nekoliko razloga. Prvo, on negativno utječe na učenike psihološki i fizički. Drugo, ako mu se ne pristupi na odgovarajući način, on također može omesti školski uspjeh učenika i njihovo konačno usvajanje stranoga jezika. Nadalje, istraživanja su pokazala da strah od stranoga jezika često ostaje cjeloživotni problem. Stoga je od ključne važnosti da nastavnici dobro razumiju ovaj problem i strategije koje mogu koristiti kako bi pomogli svojim učenicima. Iako su provedena mnoga istraživanja o strahu od stranoga jezika, postoji manjak istraživanja ove teme iz perspektive nastavnika engleskoga jezika u Hrvatskoj. Stoga se u ovom diplomskom radu bavimo dvama istraživačkim pitanjima: (1.) jesu li hrvatski nastavnici engleskoga jezika svjesni problema straha od stranoga jezika i njegove negativne uloge u učenju jezika, te (2.) koje strategije, ako ikoje, hrvatski nastavnici engleskoga jezika primjenjuju kako bi umanjili strah od stranoga jezika kod svojih učenika. Rezultati pokazuju da su hrvatski nastavnici engleskog jezika uglavnom svjesni problema straha od stranoga jezika i načina na koje on utječe na učenike. Rezultati također pokazuju da hrvatski nastavnici engleskoga jezika koriste različite, dokazano učinkovite strategije kako bi pomogli učenicima da umanje svoj strah od stranoga jezika
Radical informel in Croatian art from 1956 to 1962
No full textRadikalni enformel jedna je od iznimno značajnih umjetničkih pojava u hrvatskoj umjetnosti kasnih pedesetih i ranih šezdesetih godina prošlog stoljeća. Uvođenjem novih materijala, postupaka i materičkih istraživanja, radikalni enformel predstavlja reakciju i kritiku „tradicionalne modernosti“, posebno figurativne i mimetičke umjetnosti. Ovaj rad propituje promjenu percepcije o samoj prirodi slike i forme kroz djela radikalnog enformela, kao i ulogu glavnih eksponenata u formiranju koncepta nepikturalne, nesemantičke i neprikazivačke tipologije enformelnog slikarstva unutar hrvatske povijesti umjetnosti. Osim pet glavnih predstavnika (Gattin, Feller, Jevšovar, Seder, Kristl), rad predstavlja i individualne poetike sedam umjetnika koji su u jednoj etapi svog stvaralaštva ostvarili djela materičkog enformela ili su se s nekoliko likovnih ostvarenja približili radikalnoj enformelnoj orijentaciji (Kulmer, Jelenić, Hruškovec, Horvat, Vaništa, Sablić i Missia) u razdoblju od 1956. do 1962. godine, kao i kasnije recidive i (dis)kontinuitete enformela kod pojedinih autora. Pored dosadašnjih teoretskih i kritičkih modela, uvažavajući dosadašnja saznanja, arhivske izvore, dokumentaciju i relevantnu literaturu, kao i kataloge izložbi koji su se dovodili u vezu s enformelom u Hrvatskoj, disertacija pruža i neka druga moguća tumačenja radikalnog enformela kroz koncepte entropije, besformnog, estetike ružnoga, odnosno brutalne estetike (deformacije, disfiguracije, ništavljenje značenja i oblika). Uz spomenuto, disertacija sagledava i propituje enformelno stvaralaštvo s drugih kritičkih pozicija kao što su rodne teorije te kroz društvenopolitičke kontekste prema kojima recepcija radikalnog tipa enformela nije imala značajniju institucionalnu podršku, niti su glavni predstavnici imali društveni i umjetnički status kao pojedini umjetnici pikturalne, umjerenije enformelne orijentacije. Poseban doprinos koji ovaj rad nastoji dati, očituje se u katalogizaciji obrađivanih djela te opsežnoj i cjelovitoj sintezi pojave radikalnog enformela u hrvatskoj umjetnosti. Analizom i komparacijom pojedinačnih djela glavnih eksponenata radikalnog enformela, ukazuje na sličnosti i razlike s djelima europskog i svjetskog enformela. Također, rad kontekstualizira radikalni enformel u hrvatskoj umjetnosti unutar onodobne jugoslavenske likovne scene i kao dio svjetskih enformelističkih tendencija.Radical Art Informel is one of the particularly important chapter in Croatian art of the late 1950s and early 1960s. By introducing new materials, artistic procedures, and materic experiments, radical Informalism epitomizes the critique of “traditional modernity”, especially that of figurative and mimetic art as well as a reaction to the advent of geometric abstraction. This thesis is concerned with the emergence, reception, interpretation, and definitions of radical Art Informel in the period from 1956 to 1962, as well as its influence on later art of the 1970s and 1980s. This work questions the shift in the perception of the very nature of painting and art through radical Informalist works, as well as of the main exponents’ role in the formation of the concept of the non-pictorial, non-semantic, and nonmimetic typology of Informalist painting within Croatian art history. A particular contribution which this dissertation aims to provide lies in the cataloging of previously-expounded-on artworks, their interpretation, as well as an extensive and exhaustive synthesis of the emergence of radical Art Informel in Croatian art based on previous theoretical, critical, and historic interpretations of this artistic phenomenon in Croatian art. By analyzing and comparing individual artworks of the protagonists of radical Informalism in Croatia, this work will identify their differences and similarities when compared to artworks of European and global Art Informel. In addition to this and alongside earlier theoretical and critical models which have been related to Art Informel in Croatia, this thesis provides some other possible interpretations of radical Informalism based on, for example, Rosalind Krauss and Yve-Alain Bois's concepts of entropy and the formless, the aesthetics of ugliness (Umberto Eco, Theodor Adorno, Karl Rosenkranz, Hal Foster, Jean Dubuffet, Georges Bataille), the notions of deformation and disfiguration or the ideas of Georges Mathieu on the negation of meaning and dissolution of shapes. Beside the aforementioned, this thesis regards and questions Informalist creation from other critical perspectives, such as that of gender theory. Apart from the oeuvres of the five protagonists (Ivo Gattin, Eugen Feller, Marijan Jevšovar, Đuro Seder, Vlado Kristl), this work also presents the individual poetics of seven artists who, in one phase of their artistic practice, created works of materic Informalism or approached radical Art Informel in several of their artworks (Božidar Jelenić, Tomislav Hruškovec, Ferdinand Kulmer, Miljenko Horvat, Josip Vaništa, Rudolf Sablić, and Frano Missia), all in the period from 1956 to 1962. Taking into consideration previous findings, archival resources, documentation and literature on the subject, as well as exhibition catalogs and some newer interpretations, this thesis also elucidates radical Art Informel through socio-political contexts according to which the reception of the radical type of Art Informel did not enjoy significant support from art institutions, nor did its main exponents have an equal social and art status as did individual artists of a pictorial, more moderate Informalist orientation. Furthermore, this work contextualizes radical Art Informel in Croatian art within the Yugoslav art scene of the time and as a component of global Informalist tendencies. It takes a critical stance towards the very thesis on radical Art Informel and questions the validity of its name and definition, providing additional interpretations and categorizations of Informalism within Croatian art history. The intention of this thesis is to contribute to the broader perception and understanding of the frameworks within which this artistic phenomenon appeared, as well as its unique positions and roles in the context of Yugoslav art, its disparities compared to other art centers of former Yugoslavia, and its similarities to some South European art centers. The intention is also to clarify the specific socio-political context and social status of these dissident artists within the framework of extrainstitutional support and opposition towards mainstream art movements. Subsequently, the work will provide morphological stylistic characteristics of the materic, or rather radical variant of Art Informel which is differentiated from works within the oeuvres of the artists that shall be covered here, compared to the more pictorial variant of Informalism. It will also compare these works with the works of Art Informel artists from Europe and around the globe. The term “Art Informel”, even in its formative years, implied a whole host of variations with differing characteristics and nominations. Shortly after they appeared in France, similar or equivalent phenomena started appearing in Germany, Spain, Italy, and other countries. One could have concluded that what was in question was a dominant art practice in post-war Europe. It therefore does not come as a surprise that this phenomenon appeared in Yugoslavia as well, which was a more liberal country in terms of its political convictions, and with more open borders compared to other European countries within the Socialist order. Up to this point, numerous critical texts and articles have been written on the topic of Art Informel, or more precisely that of the radical type of Informalism. It is also mentioned in the systematization of Croatian art of the 20th century, as well as within individual biographies of its most important proponents. However, within the literature to date, radical Informalism has yet to be the topic of a comprehensive monograph, though it presents an important segment of the national artistic patrimony and is of international import. Through a methodological approach, using various art-historical and hermeneutic methods, this thesis aims to question several hypotheses, the first of which being that radical Art Informel strives towards the negation of painting, or rather leans towards the concept of the anti-painting by making destructive and radical interventions in the material or matter, by researching and introducing new unconventional art materials, media, art processes, and pursuing the abolishment of the “beauty” of the painting. The second hypothesis would be that radical Informalist artworks possess fundamental stylistic, morphological, and discursive attributes of the non-semantic and antipictorial, which, on a formal level, are manifested in an abstract, mainly materic and monochrome painting style that, in some individual cases, transgresses the boundaries of the specificity of the medium, the two-dimensionality of the painting, and borders on sculpture (Gattin and Feller). The third hypothesis which shall be questioned is that radical Art Informel is predominantly present in the oeuvre of those artists who had not earned recognition on the art scene during the time of the appearance of Informalism, nor were they to be found within Masters’ Workshops. Rather, these were individual artists, members of groups such as Gorgona or artists close to this group, who took an antipainterly approach to art as well as a particular (outsider) existentialist outlook on life and artistic creation. The thesis is subdivided into several chapters. The first chapter provides insights into the various nominations (names), characteristics, and theoretical definitions of Art Informel, as well as its emergence in Europe and the world. Apart from France, Italy, Spain, and Germany, Art Informel and Expressionism appeared in Yugoslavia, as well as in individual Eastern European countries, and in the art of the United States, Canada, Japan, Argentina, and Brazil. As has already been touched upon, besides critical and theoretical models of interpreting Art Informel by Tapié, Mathieu, Argan, Dorfles, Crispolti, Barilli, Calvesi, and Eco, as well as interpretations of American action painting by Rosenberg and Greenberg, emphasis will be placed on the notion of the informe (that which has no form)—which Rosalind Krauss and YveAlain Bois adopted from George Bataille—and Rudolf Arnheim's entropy theory. Numerous other European theoreticians of Art Informel and Abstract Expressionism, such as Cirlot, Haftmann, Ragon, Restany, and others, are also mentioned. In addition, a short overview is provided of the time immediately preceding Art Informel, that is the socio-political situation and the attitude towards abstract art in Croatia and Yugoslavia during the 1950s and 1960s and towards the emergence of Informalism in the Yugoslav art scene. The second chapter deals with the emergence, reception, interpretation, and definitions of radical Art Informel. The heterogeneity of Informalist painting in Croatia encouraged Ješa Denegri, during the first significant retrospective of Art Informel in 1977, to develop the hypothesis of two disparate sides of Art Informel – the radical and pictorial type. Other divisions of Art Informel are also provided in this chapter, as well as critiques of the theory on radical Informalism and the conception of Informalist painting in a somewhat limited classification such as this. Over time, the notion of radical and materic Art Informel also became rooted within the annals of Croatian art, as is visible in newer systematizations of Croatian art of the 20th century. The third chapter of this thesis provides insights into Informalist art of the main protagonists of Art Informel and those artists who, through individual works, were brought closer to them by adopting similar practices and created artworks of similar morphological stylistic characteristics or shared the same opinions, ideologies, and viewpoints on art. In the subchapters that cover the diction of individual artists, a comparison is provided between specific examples of artworks that point to the similarities and differences between works of artists from Europe and around the globe, and those of the aforementioned protagonists of Croatian radical Art Informel. The fourth chapter is dedicated to the examination of radical Art Informel in the context of Yugoslavia, as well as to comparisons with the emergence of Art Informel in other countries (Serbia, Slovenia, Montenegro, North Macedonia, Bosnia and Herzegovina) with a particular emphasis on the differences and similarities of Informalism in Zagreb and Belgrade. Art Informel in Belgrade stands out because its critical and theoretical interpretations were clearly expressed even in the 1960s, at the time of the development of Art Informel, and primarily through the endorsing exhibition Young Painters of Belgrade as far back as 1962. Also, it had created a contentious atmosphere from the very start and was accompanied by numerous texts and reviews by the Serbian art historian and art critic Lazar Trifunović, who was a big proponent of Belgrade Art Informel. Art Informel in Croatia is an extremely complex and heterogeneous artistic phenomenon. Alongside general characteristics of Art Informel - the abolishment of traditional conceptions of composition and painting, the dissolution of mimesis, the use of free organic forms, and the use of non-painterly materials and procedures - all of these characteristics are even more pronounced in radical Informalism. In the morphological sense, they are embodied in an ever more pronounced materiality, reliefness (texturedness), formlessness, monochromatic and achromatic color registers, the use of raw materials, their coming into being through destructive, deforming processes such as carving, scratching, accumulating structures and masses, fragmenting, removing layers and burning, as well as in the representatives’ views on art: the negation of painting, a leaning towards anti-art, self-referencing, nonpicturality, nonsemanticity, nihilism, and a brutal aesthetic. The radical variant or type of Art Informel in Croatian art can also be called materic painting, materiologic or perhaps nonsemantic Informalism. This thesis provides insights into the differing contexts of radical Art Informel; from stylistic-morphological interpretations, theoretical-critical interpretation, the sociopolitical context, the aesthetics of anti-painting and the phenomenology of processuality, to scrutinizing the emergence of radical Art Informel within the discourse of gender theory
The Delphi Method in Information Literacy Research
No full textThe purpose of this research was to develop an understanding of how information literacy (IL) research is operationalized by means of the Delphi method, the current state of the method’s usage in IL research and its key features. A systematic review of IL research studies utilizing Delphi was undertaken in April and December 2022, using studies retrieved from five databases. The main findings of the analysis are that Delphi was not a common method for IL studies; nevertheless, it was used to study various issues, including digital and health (information) literacy, and in various contexts, mainly those of education, health care, and librarianship, leading to a variety of findings, most often relating to IL competence or skill framework. Delphi was used highly flexibly, utilizing diverse groups of experts with various signifiers of expertise. If applied rigorously, with other methods, Delphi may contribute to IL theory and practice
Polish-Croatian Artistic Ties - Exhibitions in Zagreb from 1945 to 1989
No full textU radu se analiziraju umjetničke veze između Hrvatske i Poljske u razdoblju od 1945. do 1989. godine, kada je Hrvatska bila dio Jugoslavije, a Poljska dio sovjetskog bloka. U prvom dijelu predstavljen je povijesni kontekst obiju zemalja te razvoj njihove umjetničke produkcije. U radu je istaknuto kako su politički odnosi utjecali na intenzitet i oblik kulturne suradnje – dok je razdoblje od 1948. do 1956. obilježeno stagnacijom suradnje, kasnije se ona postupno intenzivirala kroz institucionalne i osobne kontakte. Sve do 1990-ih kulturna suradnja odvijala se posredstvom državnih i republičkih komisija te na inicijativu stručnjaka i institucija. Dok je Poljska prolazila kroz faze socijalističkog realizma, avangarde i postmoderne pod većim ili manjim utjecajem Moskve, Jugoslavija je razvijala vlastitu kulturnu politiku koja je oblikovala dinamičnu likovnu scenu. Unatoč oscilacijama u diplomatskim odnosima između Poljske i Hrvatske, kulturna razmjena bila je važan most suradnje. U drugom dijelu rada fokus je na analizama izložbi poljskih umjetnika i izložbi nastalih kao rezultat kulturne suradnje u Zagrebu, pri čemu se istražuju okolnosti njihove organizacije, institucionalna podrška te recepcija u stručnoj i široj javnosti. Zagrebačka publika imala je priliku vidjeti radove najistaknutijih poljskih umjetnika i predstavnika moderne i suvremene umjetnosti, uključujući predstavnike avangarde, modernizma, apstrakcije, konceptualne umjetnosti, secesije te primijenjene umjetnosti. Kroz analizu arhivskih izvora i osvrta u tisku, rad potvrđuje da je interes hrvatske stručne javnosti za suvremena umjetnička strujanja u Poljskoj bio izražen.The thesis analyses the artistic ties between Croatia and Poland in the period from 1945 to 1989 when Croatia was part of Yugoslavia and Poland was part of the Soviet bloc. The first part presents the historical context of both countries and the development of their artistic production. The thesis highlights how political relations influenced the intensity and form of cultural cooperation – while the period from 1948 to 1956 was marked by stagnation in cooperation, it later gradually intensified through institutional and personal contacts. Until the 1990s, cultural cooperation took place through state and republican commissions and at the initiative of experts and institutions. While Poland went through the phases of socialist realism, avant-garde, and postmodernism under greater or lesser influence from Moscow, Yugoslavia developed its own cultural policy that shaped a dynamic art scene. Despite the oscillations in diplomatic relations between Poland and Croatia, cultural exchange was an important bridge of cooperation. The second part of the thesis focuses on the analysis of exhibitions by Polish artists and exhibitions resulting from cultural cooperation in Zagreb, exploring the circumstances of their organization, institutional support, and reception among the professional and general public. The Zagreb audience had the opportunity to see the works of the most prominent Polish artists and representatives of modern and contemporary art, including representatives of avant-garde, modernism, abstraction, conceptual art, art nouveau, and applied art. Through the analysis of archival sources and press reviews, the thesis confirms that the interest of the Croatian professional public in contemporary artistic movements in Poland was particularly pronounced
Kontrastivna analiza idiomatskih izraza s ornitonimskom sastavnicom u engleskom i ruskom jeziku
No full textThis thesis presents a contrastive analysis of idiomatic expressions containing an ornithonymic component in English and Russian. Birds have lived alongside humans throughout history and served not only as a source of food and raw materials, but they also have an important place in human culture, which is reflected in mythology, religion, art, literature, as well as idiomatic language. The aim of this thesis is to study and compare the semantic fields expressed by ornithonymic idioms in English and Russian, and explain possible differences by analysing their motivation, etymology, and their symbolic and cultural function. The corpus used in this thesis was excerpted from various dictionaries of idioms an it contains 98 English and 96 Russian idioms grouped into 91 different concepts. The results of the analysis show some overlapping between the ornithonymic idioms of the two languages and the way speakers conceptualize them, mainly when it comes to internationally known idioms. However, due to stark differences in the English and Russian cultures, there are more cases of non-analogous concepts expressed by the idioms with an ornithonymic component, which is seen in the number of unique concepts that is overwhelmingly higher than the number of shared concepts.Настоящая диссертация представляет собой контрастивный анализ фразеологизмов с компонентом-орнитонимом, в английском и русском языках. Птицы жили вместе с человеком на протяжении всей истории и служили не только источником пищи и сырья, но и занимали важное место в человеческой культуре, что отражается в мифологии, религии, искусстве, литературе, а также в фразеологии. Целью данной работы является анализировать и сравнить семантические поля, выражаемые фразеологизмами с компонентом-орнитонимом в английском и русском языках, а также объяснить возможные различия путем анализа их мотивации, этимологии и их символической и культурной функции. Корпус, использованный в данной работе, составлен из фразеологизмов, выбранных из различных фразеологических словарей, и включает 98 английских и 96 русских идиом, сгруппированных в 91 разное семантическое поле. Результаты анализа показывают некоторые соответствия между фразеологизмами с компонентом-орнитонимом двух языков и тем, как они концептуализированы носители языков их концептуализируют, прежде всего, когда речь идет об фразеологизмах интернационального характера. Однако, из-за существенных различий в культурах английского и русского языков, существует больше непараллельных концептов, выражаемых фразеологизмами с компонентом-орнитонимом, что проявляется в том, что число уникальных концептов значительно превышает количество взаимных концептов в двух языках
Creativity in High School Sociology Textbook Questions
No full textSvrha učenja i poučavanja sociologije je usvajanje znanja i razvoj vještina potrebnih za razumijevanje društva i njegovih pojava, procesa i odnosa. Suvremeno društvo konstantno se mijenja, što podrazumijeva i obrazovanje, pri čemu suvremeni pristupi učenju i poučavanju naglasak stavljaju na kreativnost. Kreativnost nema jedinstvenu definiciju – ona se mijenjala kroz povijest u okvirima brojnih teorija. U ovome radu, koristi se definicija kreativnosti kao divergentnoga mišljenja, onoga koje iziskuje razmišljanja u više pravaca koje rezultira većim brojem inovativnih rješenja. Upravo udžbenička pitanja mogu biti važni mediji za poticanje kreativnosti kod učenika, stoga ovaj rad analizira zastupljenost pojedinih kategorija među pitanjima iz tri različita udžbenika sociologije za gimnazije, propituje njihov doprinos ostvarivanju odgojno-obrazovnih ciljeva i ishoda nastavnoga predmeta Sociologija te osvještava njihovu važnost u razvoju divergentnoga, odnosno, kreativnoga mišljenja kod učenika. Kod analize, u radu se koristi Lista početaka pitanja i zadataka za poticanje kreativnog mišljenja Davida Georgea koja uključuje sljedeće kategorije: fluentnost, fleksibilnost, originalnost, elaboracija, znatiželja, složenost, rizičnost, mašta. Lista se temelji na teoriji divergentnoga mišljenja J. P. Guildforda i Bloomovoj taksonomiji u suvremenome obrazovnome kontekstu. Rezultati su pokazali da u sva tri udžbenika dominiraju kreativna pitanja te se u svima najzastupljenije sljedeće kategorije, redom: rizičnost, fleksibilnost, fluentnost te složenost. Kategorije znatiželja, originalnost i mašta znatno su manje zastupljene u sva tri udžbenika, dok se kategorija elaboracije javlja samo u jednome udžbeniku. Udio kreativnih pitanja u udžbenicima Sociologije reflektiraju naglasak na kreativnosti kao alatu i kao produktu suvremenoga obrazovanja.The purpose of studying and teaching sociology is acquisition of knowledge and skill development necessary for understanding society and its phenomena, processes and relationships. Society is constantly changing, including education, where modern approaches to learning and teaching emphasize creativity. Creativity does not have a unique definition – it changed throughout history within the framework of numerous theories. In this paper, creativity is defined as divergent thinking, which is determined by generating many different, innovative solutions for a single problem. Textbook questions can serve as important channels for stimulating creativity in students, therefore this paper analyzes the representation of certain categories among questions from three different high school sociology textbooks, examines their contribution to the achievement of educational goals and outcomes in high school Sociology class, and brings awareness to the importance of development of divergent, i.e., creative thinking in students. In the analysis, the paper uses David George's List of Beginning Questions and Tasks for Stimulating Creative Thinking, which includes the following categories: fluency, flexibility, originality, elaboration, curiosity, complexity, risk-taking, imagination. The list is based on J.P. Guildford's theory of divergent thinking and Bloom's taxonomy in a contemporary educational context. The results show that creative questions prevail in all three textbooks, and that the most represented categories list as following: risk, flexibility, fluency, and complexity. The categories of curiosity, originality, and imagination are significantly less represented in all three textbooks, while the category of elaboration appears in only one textbook. The share of creative questions in Sociology textbooks reflects the emphasis on creativity as both a tool and as a product in contemporary education
The Rise and Development of Mathematical Astronomy in Seleucid Babylon
No full textU ovom je radu prikazan kontekst nastanka i razvoja matematičke astronomije u seleukidskom Babilonu. Prvi dio rada obuhvaća uvod u temu, metodološki okvir, kratki osvrt na povijest istraživanja i izvore. U drugom dijelu rada sažeto se opisuju povijesni događaji koji su utjecali na matematičku astronomiju i astronomsku djelatnost. Opisuju se položaj i dužnosti astronoma, te hram kao centar astronomske djelatnosti. Daje se kratki pregled razvoja astronomskog predviđanja, te se osnovni koncepti i metode matematičke astronomije ilustriraju na primjeru Jupitera. Naposlijetku analizira cirkulacija babilonskog astronomskog znanja u vrijeme helenizma.This paper presents the context of the emergence and development of mathematical astronomy in Seleucid Babylon. The first part of the paper includes an introduction to the topic, the methodological framework, a brief overview of the history of research, and sources. The second part concisely describes the historical events that influenced mathematical astronomy and astronomical activity. It discusses the role and duties of astronomers, as well as the temple as the center of astronomical activity. A brief overview of the development of astronomical prediction is provided, and the fundamental concepts and methods of mathematical astronomy are illustrated using the example of Jupiter. Finally, the paper analyzes the circulation of Babylonian astronomical knowledge during the Hellenistic period