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Ethos, Pathos and Logos in the Poetry of Tonči Petrasov Marović
No full textEtos, patos i logos uobičajeno se promatraju kao retorička sredstva, odnosno kao načini ili vještine uvjeravanja u retorici. Retorika se kroz povijest, osim kroz persuaziju, definirala i kroz umjetničku sposobnost govornika. U ovom se radu analizira kako Tonči Petrasov Marović koristi etos, patos i logos u oblikovanju argumentacije i narativa u svojoj poeziji. Etos se u Marovićevom pjesništvu očituje kroz njegovu autentičnost i osobno iskustvo. Kao pjesnik koji je proživio teške trenutke u pisanju odražava duboku povezanost s temama smrti, patnje i ljudske egzistencije. Sposobnošću povezivanja s čitateljima kroz vlastitu ranjivost stvara povjerenje i autoritet. Logos se u analiziranim pjesmama ogleda u filozofskim refleksijama i logičnim argumentima o životu, smrti i postojanju. Marovićeva poezija često uključuje i elemente mitologije i religije, što dodatno obogaćuje narative i potiče čitatelja na razmišljanje o dubljim pitanjima. Patos se odnosi na emocije sugovornika i ključan je element Marovićeve poezije. Koristi brojne emotivne slike, snažne metafore i druge figure kako bi izazvao emocionalnu reakciju kod čitatelja. Metafore su iz najrazličitijih semantičkih polja: prirode, svakodnevnoga života, zdravlja, arhitekture, ljudske naravi, stanja i njima u čitatelja evocira snažne emocije od melankolije i nostalgije do tjeskobe i straha. Zaključuje se da Tonči Petrasov Marović u svom pjesničkom stvaralaštvu jednako uspješno koristi sva tri načina uvjeravanja.Ethos, pathos, and logos are commonly viewed as rhetorical technique, or methods and skills of persuasion in rhetoric. Throughout history, rhetoric has been defined not only through persuasion but also through the artistic ability of the speaker. Therefore, this paper analyses how Tonči Petrasov Marović employs ethos, pathos, and logos in shaping argumentation and narrative in his poetry. Ethos refers to the character of the speaker, and in Marović’s poetry, it is manifested through his authenticity and personal experience. As a poet who has endured difficult times, including a prolonged illness, his writing reflects a deep connection to themes of death, suffering, and human existence. By connecting with readers through his own vulnerability, Marović creates trust and authority. Logos in rhetoric persuades through the power of reason, and in the analysed poems, logos is evident in philosophical reflections and logical arguments about life, death, and existence. Marović’s poetry often includes elements of mythology and religion, which further enriches the narratives and encourages readers to contemplate deeper questions. Pathos relates to the emotions of the interlocutor and is a crucial element of Marović’s poetry. He employs numerous emotional images, strong metaphors, and other figures to evoke an emotional response from readers. His metaphors draw from a wide range of semantic fields: nature, everyday life, health, architecture, human nature, and states, evoking powerful emotions ranging from melancholy and nostalgia to anxiety and fear. It is concluded that Tonči Petrasov Marović successfully utilizes all three modes of persuasion in his poetic work
What does Brezovljani have to do with Butmir?
No full textOtkriće nekoliko ulomaka keramičkih posuda s karakterističnim stilskim obilježjima butmirske kulture na lokalitetu Brezovljani, nedaleko od Križevaca, koji se kulturno pripisuje protolenđelskom horizontu, potaknulo je ponovna promišljanja o odnosima dviju pojava: lenđelske i butmirske. Tim prije jer je i na lokalitetu Becsehely u južnom dijelu mađarske Transdanubije, koji uglavnom pripada lenđelskomu kulturnom krugu, uočena slična situacija prisutnosti butmirske keramike.The unearthing of several fragments of ceramic vessels, with stylistic features characteristic of the Butmir culture, at the Brezovljani site (near Križevci), which has been attributed to the proto-Lengyel horizon, prompted a rethinking of the relations between two cultural phenomena: Lengyel and Butmir. This was reinforced by the fact that at Becsehely site, in the southern part of Hungarian Transdanubia, which pertains mainly to the Lengyel cultural circle, a similar situation – the presence of Butmir pottery – was also observed
In memoriam Luku Paljetku (1943. – 2024.)
No full textTekst je skraćena i prilagođena inačica eseja „Dubrovnik na bijeloj podlozi ruža” objavljenog u časopisu Forum (Zagreb, broj 1–3, god. LXII (2023.): 197–224).Tekst je skraćena i prilagođena inačica eseja „Dubrovnik na bijeloj podlozi ruža” objavljenog u časopisu Forum (Zagreb, broj 1–3, god. LXII (2023.): 197–224)
To Juraj Pavlović: Portrait of Anna Maria Marovich with Her Parents (1846)
No full textU članku se priopćava postojanje portreta obitelji Marović koji se pripisuje Jurju Pavloviću na temelju iskaza Ivana Kukuljevića Sakcinskog, koji se do sada smatrao zagubljen. Portret se čuva u negdašnjem Istituto Canal Marovich ai Servi u Veneciji. Slika se analizira s ikonografskog aspekta, odnosno svraća se pozornost na detalj pisma koji Ana Marija Marović drži u rukama. Budući da je riječ o pismu austrijske carice Marije Ane iz 1845. godine, koje je primila u znak zahvale za sliku koju je carici naslikala, predlaže se teza da je taj događaj bio i neposredni povod portretiranja obitelji, što potvrđuje i pisani izvor koji sliku datira u ljeto 1846. godine. Slika se nadalje analizira sa stilskog gledišta te se propituju argumenti koji govore u korist Pavlovićeva autorstva; predlaže se smještanje djela u drugo stvaralačko razdoblje slikara te se uspoređuju elementi slikarske izvedbe koji ga dovode u vezu s drugim poznatim djelima. Također, slika se žanrovski identificira kao obiteljski portret te se vrednuje kao jedini primjer svoje vrste u Pavlovićevoj portretistici. Na kraju se naglašava da Pavlovićev portretistički opus valja sagledavati u znaku stilskog kontinuiteta između romantizma i ranog, tj. bidermajerskog realizma.This paper discusses the existence of a portrait of the Marovich family that was previously considered lost, attributed to Juraj Pavlović based on the testimony of Ivan Kukuljević Sakcinski. The portrait is held in the former Istituto Canal Marovich ai Servi in Venice. The painting is analysed here from an iconographic perspective, drawing attention to a detail of the letter that Anna Maria Marovich holds in her hands. Since the letter is from the Austrian Empress Maria Anna of Savoy, dated 1845, received as a sign of gratitude for the portrait Anna Maria had painted of the empress, it is suggested that this event was the immediate reason for commissioning the family portrait. This is supported by a written source that dates the painting to the summer of 1846. The work is further examined from a stylistic point of view, considering arguments for attributing it to Pavlović and proposing that it belongs to the painter’s second creative period. Various stylistic elements of this painting are compared to those in his other known works. Additionally, the painting is identified as a family portrait in terms of genre and valued as the only example of its kind in Pavlović’s opus. Finally, it is emphasized that Pavlović’s portraiture should be viewed in the context of stylistic continuity between Romanticism and early Biedermeier Realism
Pero and Melko Čingrija: Art under the Auspices of Politics
No full textPored prije istraživanih i publiciranih političkih i gospodarskih aktivnosti dr. Pera i dr. Melka Čingrije rad je fokusiran na njihov važan i gotovo nepoznati utjecaj u razvoju umjetničke infrastrukture i likovnog života Dubrovnika od posljednjih desetljeća 19. stoljeća do početka Drugoga svjetskog rata. Svoj politički program afirmacije nacionalnog identiteta transponirali su u sferu umjetnosti. Različite oblike potpore likovnim umjetnostima vidljive u radu Pera Čingrije nastavlja istim intenzitetom i raznolikošću i Melko Čingrija. Kod obojice također uočavamo iznimnu energičnost i odluke vođene vlastitim prosudbenim sustavom, bez povlađivanja ili prepuštanja tuđim sudovima. Te procese možemo pratiti mecenatskim potporama usmjerenim pojedinim umjetnicima, organizacijom umjetničkih izložbi i angažmanom pri organizaciji narudžbi, financiranja i postavljanja javnih spomenika. Nadalje, s nekim umjetnicima održavaju prijateljske veze, a često ih i financijski pomažu. Neke njihove tendencije, sukladne duhu vremena, ostale su platforma sljedeće generacije inicijatora umjetničkih aktivnosti, a rezultati njihovih zajedničkih nastojanja jesu današnje ustanove u kulturi u Dubrovniku.In addition to the previously researched and published political and economic activities of Pero and Melko Čingrija, this paper focuses on their significant yet almost unknown impact on the development of artistic infrastructure and artistic life in Dubrovnik from the last decades of the 19th century to World War II. They extended their political programme of affirming national identity into the realm of art. The various forms of support for the fine arts visible in the work of Pero Čingrija were continued with the same intensity and diversity by Melko Čingrija. In both, one can observe exceptional energy and decisions guided by their own judgments, without acting compliant or yielding to the opinions of others. These processes can be traced through their patronage, the support granted to individual artists, the organization of art exhibitions, and their involvement in commissioning, financing, and installing public monuments. Moreover, they maintained friendly relations with certain artists and often provided them with financial assistance. Some of their initiatives, in line with the spirit of the time, laid the groundwork for the next generation of initiators of artistic activities, and the results of their combined efforts are evident in today’s cultural institutions in Dubrovnik
Book Review: Emil Hilje, Bartolomeo del Mestre, Masters of His Circle, and the Completion of the Šibenik Cathedral
No full textKnjiga Emila Hilje obrađuje do sada najmanje poznato, zadnje poglavlje u nastanku šibenske katedrale Sv. Jakova koje obuhvaća period od šest desetljeća, točnije od smrti Nikole Firentinca (o. 1506. godine) i posvećenja katedrale 1556. godine, pa sve do prvih radova na sanaciji njezina krova desetljeće poslije. Premda su donekle očekivani rezultati izostali, a tiču se preciznijeg definiranja uloge svakog od dvojice zadnjih protomajstora, Bartula Jakovljeva iz Mestre i njegova sina Jakova, ipak sada doznajemo mnogo više o djelatnosti majstora iz njihova užeg i šireg kruga. Među njima istaknuto mjesto zauzima Bartulov drugi sin Frane, znan i po nadimku Keko (Checco). Zaronivši duboko u šibenski arhiv, autor je iz gotovo nepregledne količine posve novih i nepoznatih dokumenata na svjetlo dana izvukao ne samo brojne važne i manje važne majstore već i neke sporedne vrlo živopisne likove pruživši na kraju zaokruženo, čitljivo i nadasve interesantno štivo koje baca novo svjetlo ne samo na dovršenje šibenske katedrale već i na ukupni život Krešimirova grada u tome teškom razdoblju njegove povijesti.Emil Hilje’s book explores the previously least known chapter in the construction of the Šibenik Cathedral of St James: the last six decades from the death of Niccolò di Giovanni Fiorentino (around 1506) until the Cathedral’s consecration in 1556 and the subsequent restoration of its roof a decade later. While the book does not entirely fulfil the aim of precisely delineating the roles of the last two protomasters, Bartolomeo del Mestre and his son Giacomo, it offers valuable insights into the activities of master builders from their immediate and extended circles. Notably, Bartolomeo’s second son, Francesco, known as Checco, emerges as a significant figure. Hilje’s meticulous investigation of archival sources in Šibenik has unearthed a vast amount of previously unknown documents, shedding light on major and minor contributors to the Cathedral’s completion, including some picturesque secondary figures. Thus, the book provides a well-rounded, attractive, and compelling reading that enriches the study of the Šibenik Cathedral and paints a vivid picture of King Krešimir’s city in a difficult period of its history
Some Aspects of International and Domestic Regulations related to Violations of Children’s Rights in the Media
No full textNa temelju sadržajne analize regulativa prava djece u međunarodnom i nacionalnom kontekstu, autori daju svojevrsnu sintezu profesionalnih obilježja novinarske profesije u Republici Hrvatskoj kao temelj za daljnje istraživanje etičkih normi pri objektivnom i vjerodostojnom izvještavanju situacija, događaja i informacija u kojima su akteri djeca. Suočeni s konvencijama koje imaju gotovo višu snagu od zakona te uređuju pravo zaštite djeteta, kao i više zakona, tradicionalni i digitalni mediji nerijetko izlaze iz okvira poštivanja prava djeteta zbog senzacionalizma i profita. Profesionalna etika novinara i urednika dovodi se u pitanje značajnim brojem prijava za kršenje odredbi konvencija i zakona, što su pokazala određena empirijska istraživanja parcijalnog karaktera. Rad ujedno predstavlja temelj za daljnje istraživanje, dublju verifikaciju zaštite djece u medijima, kako u tradicionalnim tako i u svim novim medijima. Pravni i etički okvir profesionalnog novinarstva ostaje istraživačko uporište, ali s nastojanjem empirijskog utvrđivanja one „tanke linije“ koja dovodi do kršenja prava djeteta, odnosno granice koja bi pridonijela istinskom poštivanju prava djece bez obzira na težinu djela, višoj razini profesionalne i etičke odgovornosti novinara te kvaliteti medija. Medijsku pismenost onih koji danas čine medij (novinari i urednici) autori vide kao novu abecedu 21. stoljeća.Based on a substantive analysis of children’s rights regulations in the international and national context, the authors provide a kind of synthesis of the professional characteristics of the journalistic profession in the Republic of Croatia as a basis for further research into ethical norms in objective and credible reporting of situations, events and information in which children are actors. Faced with conventions that almost override the laws and regulate the right to protect a child, as well as multiple laws, traditional and digital media frequently violate children’s rights in pursuit of sensationalism and profit. A significant number of reported violations of conventions and laws has brought the professional ethics of journalists and editors into question, as evidenced by certain limited empirical research. The paper is also the basis for further research, deeper verification of child protection in the media, in both traditional and new media. The legal and ethical framework of professional journalism continues to be a subject of research, particularly focusing on empirically identifying the “fine line” that leads to violations of the children’s rights. The goal is to establish a boundary that would ensure full respect for children’s rights, regardless of the severity of the offence, while also demanding a higher level of professional and ethical responsibility from journalists and improving the overall quality of media. The authors see media literacy of those who make up the media today (journalists and editors) as a new alphabet of the 21st century
Legionaries from the Rhine Provinces in Dalmatia
No full textU Dalmaciji su otkriveni malobrojni natpisi legionara čije su postrojbe bile smještene u Gornjoj i Donjoj Germaniji. Nekoliko vojnika i veterana u vremenu između sredine 1. stoljeća i završetka principata pripadalo je legiji VIII Augusta koja je bila građevinski aktivna u logoru Burnumu. Iz legije XXII Primigenia i legije XXX Ulpia victrix potvrđen je po jedan veteran, a iz legije I Minervia bio je centurion u službi prepozita kohorte I Belgarum. Ovaj rad pokušat će rasvijetliti karakter prisutnosti tih vojnika i veterana u Dalmaciji, odnosno način na koji je provincija bila povezana s legijama u porajnskim provincijama.Few inscriptions of legionaries whose units were located in Upper and Lower Germania were found in Dalmatia. Several soldiers and veterans in the period between the middle of the 1st century and the end of the Principate served in Legio VIII Augusta, which was active in construction in the legionary camp of Burnum. From Legio XXII Primigenia and Legio XXX Ulpia Victrix one veteran was confirmed each, and from Legio I Minervia there was a centurion who served as praepositus of Cohors I Belgarum. This paper will try to shed light on the particulars of the presence of these soldiers and veterans in Dalmatia, that is, the way in which the province was associated with the legions in the Rhine provinces
Self-referential reconstruction of the term alienation by Victor Tausk in regards to his literary imagination of Bosnia
No full textDieser Artikel stellt sich zur Aufgabe, die Alienitäts- und Alteritätsproblematikanhand von Tausks Novelle Husein Brko. Eine bosnischeZigeunergroteske zu erforschen. Husein Brko war dank seiner auffälligenAndersheit, eine perfekte literarische Vorlage, um zu beweisen,dass das Fremde oft nur durch das Eigene funktioniert. Die Diskussionum die Behandlung dieses Problems mündet auch in der heiklenFrage, ob Bosnien für Tausk tatsächlich als Mnemotop einer fremden,anderen Welt zu verstehen war, oder waren seine psychoanalytischenÜberlegungen an der Rezeption seiner Figuren schuld? Schließlichlässt sich behaupten, dass die Grenze zwischen der Realität und Imaginationsehr schmal und zerbrechlich ist, wenn sie überhaupt existiert.The purpose of this article is to explore the problems of alienation andalterity based on Tausk’s novel Husein Brko-Bosnian novel about gypsies.Thanks to his noticeable diversity, Husein Brko was a perfect baseto prove that strangeness can only exist through individuality. Discussionabout this problem ends with tricky questions, was Bosnia only amnemotope of an old different world for Tausk, or,were his psychoanalysisthoughts responsible for recetions of his figures? In the end, itcan be claimed that the limit between reality and imagination ist reallynarrow and breakable; if even it exists at all
Prigodni govor povodom predstavljanja časopisa GEM
No full textRede anlässlich der vorstellung der zeitschrift GEMRede anlässlich der Vorstellung der Zeitschrift GEMPrigodni govor povodom predstavljanja časopisa GE