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Theodor Däubler’s Intercultural Mythopoetry
No full textVorliegender Beitrag versucht den Dichter Theodor Däubler (1875-1934) vom Klischee einer expressionistischen Einschachtelung abzuheben und ihn als einen ganz besonderen modernen Mythopoetiker in den Vordergrund zu stellen. Seine mythisch gefärbte Poetik wird im Kontext der alternativen, bis heute nicht kanonisierten Diskurse über Mythos und modernen Dichtung in der ersten Hälfte des 20. Jahrhunderts, repräsentiert etwa durch Däublers Briefpartner und verlässlichsten Kenner, Rudolf Pannwitz, behandelt. Es wird dabei vor allem auf einige von Däublers Mythendichtungen und Delos-Essay eingegangen, wobei auch seine interkulturelle Vermittlerposition zwischen dem modernen deutschsprachigen und dem mediterranen (griechischen) Kulturraum konturiert wird. Abschließend widmet sich der Beitrag, basierend nicht zuletzt auf seinen Manuskripten, einigen denkwürdigen Aspekten von Däublers Griechenland-Projekt.Whereas the German-Austrian poet Theodor Däubler (1875-1934) is generally regarded as an expressionist, the paper is trying to go beyond this cliché by interpreting him as an outstanding modern representative of mythopoetry. Däubler is thereby discussed within the frame of alternative, uncanonized discourses upon myths and modern poetry in the first half of the 20th century, represented, for instance, by Rudolf Pannwitz, one of Däubler’s best pen friends and connoisseurs. The paper also discusses some of Däubler’s mythical poems as well as his essay on Delos, emphasizing his mediating role between modern German and ancient Mediterranean (Greek) cultural spaces. Finally, some of the major aspects of Däubler’s project on Greece, as revealed mainly on the grounds of his manuscripts, will be taken into consideration
The Depiction of St Lawrence The Martyr: Text, Performance, and Community
No full textRasprava o odnosu drame i zajednice već je desetljećima jedna od važnijih tema u istraživanju srednjovjekovne drame, pri čemu je ključno pitanje jesu li teatarske izvedbe poticale kolektivno iskustvo ili su služile kao izvor za društvene isključenosti. Nedostatak dokaza o izvedbama drama srednjovjekovnih žanrova na hrvatskom području razlog je zašto korpus hrvatskih drama nije dijelom rasprava koje u središte stavljaju odnos drame i zajednice. U ovom se radu analizira Prikazanje svetoga Lovrinca mučenika, svetačko prikazanje koje je do nas došlo u više različitih tekstova različitog vremena nastanka, a o čijem izvođenju u ranom novom vijeku na središnjem dijelu otoka Hvara postoje zabilješke. Kritičkim pregledom dosadašnjih istraživanja ukazuje se na važnost studije ruskog filologa Petrovskog s početka dvadesetog stoljeća o genezi tekstova svetačkih prikazanja o svetom Lovri iz hrvatskog korpusa. Kroz transkulturnu perspektivu pokazuje se da se temeljne razlike između talijanskog izvornika i hrvatskih tekstova drame odnose na prilagodbu tekstova izvedbi koje će biti javne, za veće publike. Na kraju, s obzirom na kontekst izvedbe u odnosu na prostor, vrijeme i članove zajednice, ističe se važnost spomenute drame na oblikovanje identiteta.The relationship between drama and community has been a central topic in medieval drama research for decades. However, due to the scarcity of evidence about performances of medieval dramas in Croatian territories, Croatian dramas have largely been excluded from these discussions. This paper examines Prikazanje svetoga Lovrinca mučenika [The Depiction of St Lawrence the Martyr], a saint play preserved in several texts of different times of creation, with records of its performance in the early modern era in the central part of the island of Hvar. A critical review of past research highlights the significance of the early 20th-century work by Russian philologist Petrovski on the origins of Croatian texts depicting martyrdom of St Lawrence. Through a transcultural lens, the paper demonstrates that key differences between the Italian original and Croatian adaptations lie in tailoring the texts for public performances aimed at larger audiences. Ultimately, the paper emphasizes the role of this drama in shaping community identity, considering the performance’s spatial, temporal, and communal context
Hrvatski romantičarski putopis iz poljske perspektive
No full textKrystyna Pieniążek-Marković: Smak drogi. Podróże chorwackiego romantyzmu (1839–1860).Poznań: Wydawnictwo Naukowe UAM, 2023
Feđa Šehović, pisac nazbilj
No full textTebi što bezobzirno misliš, što si uvijek u potraziza dnom i što si bez straha od poraza.Tebi, dosljedni bezvjerče…(Feđa Šehović, Uvod u tvrđavu
The Pillars with Protomes of Jupiter Ammon and Gorgon from Zadar and their architectural context
No full textikonografske i funkcionalne točke gledišta stubci s protomama Jupitra-Amona i Gorgone (Meduze) najinteresantniji su, ali i najkontroverzniji elementi skulpturalne dekoracije Foruma antičkog Jadera. Njihov arhitektonski kontekst ni do danas nije nedvojbeno razjašnjen. Zaslužni istraživač Foruma M. Suić isprva je smatrao da su stajali unutar čeone balustrade kapitolijskog hrama. Iako su danas upravo tako prezentirani, tu pretpostavku demantira nekoliko detalja izrade. S vremenom ih je očito postao svjestan i Suić, koji je stubce naknadno pripisao „gornjoj balustradi“ severske bazilike. Tu mogućnost, međutim, negiraju stilske, tehnološke i ikonografske pojedinosti, koje pokazuju da su stubci znatno stariji. Suićevu atribuciju bazilici u nekim tekstovima prati crtaća dokumentacija koja stubce igrom slučaja prikazuje unutar galerije forumskog trijema, a upravo je to položaj u koji se stavljaju formom i dekoracijom slični stubci iz Pule. Nedavno otkriće dobro očuvanog pluteja u funkciji ograde između zadarskih stubaca omogućilo je točniju projekciju duljine tih elemenata, a time i udaljenosti na kojoj su stubci izvorno stajali. U radu se na temelju novih spoznaja i recentne literature preispituju mogućnosti arhitektonske kontekstualizacije zadarskih stubaca, ali i druga važna pitanja u vezi s rekonstrukcijom trijema zadarskog Foruma kao najizglednijeg kandidata za njihov smještaj: dimenzije stupova, visina trijema, pripadnost stupova iz prizemlja i matroneja Sv. Donata.From the iconographic and functional point of view, pillars with protomes of Jupiter Ammon and Gorgon (Medusa) are the most interesting elements of sculptural decoration of the Forum of Roman-era Iader. Their architectural context has not been unambiguously clarified. Mate Suić, a distinguished researcher of the Forum in Zadar, at first thought that they were standing inside of the front balustrade of the Capitoline temple. Although that is exactly how they are presented today, several details of their modelling refute this theory. It is possible that Suić eventually became aware of them, since later he changed his mind, attributing the pillars to “the upper balustrade” of the Severan basilica. Stylistic, technological and iconographic details, however, do not support such a possibility, as they indicate that the pillars are significantly older. In some texts, Suić’s attribution to the basilica is accompanied by drawing documentation that coincidentally shows the pillars inside the gallery of the forum portico, and this is exactly the position in which the pillars from Pula, similar in form and decoration, are placed. The recent discovery of a well-preserved pluteus functioning as railing between the Zadar pillars enabled a more accurate projection of the length of these elements, and thus the distance at which the pillars originally stood. Based on new findings and recent literature, the paper examines the possibilities of architectural contextualization of the Zadar pillars, as well as other important issues related to the reconstruction of the portico of the Zadar’s Forum as the most likely candidate for their placement: the dimensions of the pillars, the height of the portico, the affiliation of the pillars from the ground floor and the matroneum of St. Donatus
Na tragu Vitruvijeva putujućeg čitatelja: nove spoznaje o djelovanju Giovannija Battiste Fontane na istočnom Jadranu krajem 17. stoljeća
No full textThis article revolves around a copy of Vitruvius’s De architectura once owned by the master builder Giovanni Battista Fontana. Firstly, it proposes the identification of this individual as the elder brother of the Ticino-born architect Carlo Fontana through a comparative analysis of handwritten samples from different archives. Secondly, it attempts a tentative reconstruction of Giovanni Battista Fontana’s career in the Eastern Adriatic. Old and newly discovered sources from state and monastic archives indicate that Fontana arrived in the Eastern Adriatic via Rome and settled in Korčula. From 1670 to the end of the century, he participated in various building projects in Kotor, Zadar, Cres, and Perast. His copy of Vitruvius plays a central role in the argumentation, as the material evidence of use detected in its pages provides insight into his reading interests and practices. Thus, it greatly contributes to the reconstruction of his corpus of works and architectural language. The article portrays a peripatetic master builder characterized by a high degree of mobility between his homeland in Ticino and the Eastern Adriatic via Rome, Ancona, and Dubrovnik, with a marked skill in combining the classical language of architecture with the local style of Korčula stonemasonry.U središtu članka nalazi se primjerak Vitruvijeve rasprave De architectura koji je nekoć posjedovao majstor graditelj Giovanni Battista Fontana. Autor ga najprije identificira kao starijeg brata arhitekta Carla Fontane iz Ticina kroz komparativnu analizu rukopisnih uzoraka iz različitih arhiva. Slijedi preliminarna rekonstrukcija karijere Giovannija Battiste Fontane na istočnom Jadranu. Stari i novootkriveni izvori iz državnih i samostanskih arhiva pokazuju da je Fontana stigao na istočni Jadran preko Rima i nastanio se u Korčuli. Od 1670. do kraja stoljeća sudjelovao je u raznim graditeljskim pothvatima u Kotoru, Zadru, Cresu i Perastu. Njegov primjerak Vitruvija igra središnju ulogu u argumentaciji, jer materijalni tragovi korištenja na stranicama knjige omogućuju uvid u Fontanine čitateljske interese i praksu, doprinoseći rekonstrukciji njegova graditeljskog korpusa i arhitektonskog vokabulara. Članak prikazuje Giovannija Battistu Fontanu kao putujućeg majstora graditeljstva s visokim stupnjem mobilnosti između domovine u Ticinu i istočnog Jadrana preko Rima, Ancone i Dubrovnika, s izrazitom vještinom kombiniranja klasičnog jezika arhitekture i lokalnog stila korčulanskog kamenoklesarstva
High Altar in the Church of the Friars Minor in Dubrovnik: Its Model in Ancona and Notes on the Painter Antonio Bellucci and the Sculptor Giuseppe Maria Mazza
No full textMramorni glavni oltar u franjevačkoj crkvi Male braće u Dubrovniku pripada najvažnijim ostvarenjima barokne altaristike u Hrvatskoj. Podignuli su ga 1712. – 1713. majstori Celio i Giovanni Toschini. Oltar dosad nije bio kontekstualiziran s obzirom na naručitelja, specifičnu tiplogiju te izrazit scenografski smještaj u crkvi. Sagrađen je zaslugom dubrovačkog franjevca Francesca Caffarellija koji se 1711. vratio u domovinu nakon službe u samostanu San Francesco ad Alto u Anconi. Za njegova su boravka u tom samostanu braća Toschini 1706. – 1707. sagradila glavni oltar kao okvir slavnoj Tizianovoj Pali Gozzi, a u 19. stoljeću preseljen je u crkvu San Domenico u Anconi. Upravo je taj oltar poslužio kao predložak za onaj dubrovački. U drugom se dijelu teksta slikaru Antoniju Bellucciju pripisuje maleno platno s temom Pietà iz privatne zbirke u kojem se može prepoznati model ili uspomena za istoimeno majstorovo djelo naslikano neposredno prije 1694. za oltar Jakoba Schella von Schellenburga u nekadašnjoj franjevačkoj crkvi u Ljubljani. Konačno, kiparu Giuseppeu Mariji Mazzi pripisuje se terakotni kip sv. Grgura pape u Musei Civici u Trevisu u kojem se prepoznaje glineni model plaćen skulptoru 1705., a prema kojem je izliven istoimeni brončani kip na glavnom oltaru u bazilici Il Redentore u Veneciji.The marble high altar in the Franciscan church of the Friars Minor in Dubrovnik is one of the most important examples of Baroque altar design in Croatia. Built in 1712/13 by the masters Celio and Giovanni Toschini, the altar has not been analysed in terms of its commissioner, its specific typology, or its distinct scenographic placement within the church. It was constructed thanks to the efforts of Dubrovnik’s Franciscan Francesco Caffarelli, who returned to his homeland in 1711 after serving in the monastery of San Francesco ad Alto in Ancona. During his stay there, the Toschini brothers had built the high altar in 1706/07 to frame Titian’s famous Pala Gozzi, which was relocated in the 19th century to the church of San Domenico in Ancona. This altar served as the model for the one in Dubrovnik. In the second part of this paper, a small canvas depicting the Pietà, from a private collection, is attributed to the painter Antonio Bellucci, as it can be identified as either a preparatory study or a memory piece for Belucci’s work with the same subject, completed shortly before 1694 for the altar of Jakob Schell von Schellenburg in the former Franciscan church in Ljubljana. Lastly, the terracotta statue of St Gregory the Pope in the Musei Civici in Treviso is attributed to the sculptor Giuseppe Maria Mazza. This piece is identified as the clay model paid for in 1705, and it served as the model for the bronze statue of the same figure on the high altar of the basilica of Il Redentore in Venice
Fitofil Matisse
No full textThis article aims to unveil the vegetal and vegetative forces underlying the creative process of Henri Matisse, arguing that phytophilia influenced every aspect of his painterly method. Drawing from the artist’s statements and broader philosophical studies of plant life, the article posits four key and closely related assertions: firstly, Matisse’s approach to his subjects required him to sink into an unconscious, vegetative state of mind, whereby the perceived entities appear to him as flows of vegetal energies rather than fixed entities. This state of mind is achieved through the cumulative act of painting and drawing, through which Matisse’s works become budding pictorial assemblages. Secondly, Matissean composition implies a vegetal organization characterized by multifocality, chromatic intensity, and spatial expansibility. Furthermore, owing to their plant-like swelling and dilation, his works have a soothing effect on the beholder and elicit his vegetative soul. Ultimately, in this article, Matisse emerges not just as a painter whose works are inhabited with vegetal shapes, but as a phytosopher whose profound knowledge of plant life permeates and informs all the constructive elements of his compositions.Ovaj ogled nastoji otkriti vegetalne i vegetativne sile na kojima počiva stvaralački postupak Henrija Matissea, obrazlažući da se fitofilija odrazila na svaki aspekt njegova slikarskog postupka. Oslanjajući se na umjetnikove iskaze i šira filozofska promišljanja biljnog života, autor postavlja četiri ključne i tijesno povezane tvrdnje. Kao prvo, Matisseov pristup motivu podrazumijeva poniranje u nesvjesno, vegetativno umno stanje, u kojem se opaženi entiteti pojavljuju kao strujenja vegetalnih energija, a ne kao čvrste stvari. Ovo umno stanje ostvaruje se kroz kumulativni čin slikanja i crtanja, zbog kojeg Matisseova djela postaju pupajući piktoralni sklopovi. Kao drugo, matiseovska kompozicija podrazumijeva vegetalnu organizaciju koju karakteriziraju multifokalnost, kromatski intenzitet i prostorno širenje. Uz to, zahvaljujući svojemu biljolikom nadimanju i dilataciji, njegova djela umirujuće djeluju na promatrača i bude njegovu vegetativnu dušu. Konačno, u ovom ogledu Matisse se ne prikazuje samo kao slikar čija djela nastanjuju vegetalni oblici, već kao fitozof čije duboko poznavanje biljnog života prožima i oblikuje sve konstruktivne elemente njegovih kompozicija
Beauty as a Social Construct – between Personal Choice and Media Norms
No full textU radu se iznose rezultati kvalitativnoga istraživanja čiji je cilj bio ispitati kako sudionici različitoga spola i dobi poimaju fenomen ljepote. Istraživanje je provedeno na uzorku od osmero sudionika, a podatci su prikupljeni metodom polustrukturiranoga intervjua te tematski analizirani. Rezultati analize ukazuju na postojanje triju temeljnih dimenzija u subjektivnim konstrukcijama ljepote: unutarnja ljepota, tjelesna ljepota i ljepota kao izraz zdravlja. Iako su sudionici svjesni kompleksnosti pojma ljepote, ukazuju na društvenu praksu redukcije ljepote na fizički izgled koji se najčešće povezuje s mladošću. Takva povezanost implicira percepciju starosti i ljepote kao međusobno isključivih kategorija. Sudionici ističu da prihvaćanje medijski nametnutih standarda ljepote smatraju osobnim izborom, no istovremeno prepoznaju da takvi standardi oblikuju stereotipe te pridonose stvaranju diskriminirajućih društvenih praksi. Rezultati istraživanja potvrđuju da je ljepota prije svega društveni konstrukt, podložan promjenjivim interpretacijama i normama. Zaključno, rezultati ukazuju na potrebu kritičkoga promišljanja o medijskim sadržajima u okviru medijskoga opismenjavanja, s posebnim naglaskom na njegovo integriranje u odgojno- obrazovne procese.This paper presents the results of a qualitative study investigating how people of different genders and ages perceive the phenomenon of beauty. The study was conducted on a sample of eight participants. The data was collected in semi-structured interviews and analysed using thematic analysis. The results point to three core dimensions of the participants’ subjective constructions of beauty: inner beauty, physical beauty and beauty as an expression of health. Although the participants recognised the complexity of the concept of beauty, they often pointed out that in social discourse it is reduced to physical appearance, which is mostly associated with youth. This association implies a perception of age and beauty as mutually exclusive categories. While participants described the acceptance of beauty norms imposed by the media as a matter of personal choice, they also recognised that such norms contribute to the creation of stereotypes and discriminatory social practices. Despite its continued relevance on both personal and societal level, the pursuit of a normalised appearance is interpreted as a socially conditioned, almost automatic behaviour. The results confirm that beauty is primarily a social construct that is a subject to changing interpretations and norms. In conclusion, the study emphasises the need for a critical approach to media content, particularly by means of teaching media literacy in formal educational contexts
Prostorna analiza značaja i uloge tvrđave Imperijal u ob-rani Dubrovnika u Domovinskom ratu 1991. godine
No full textIn addition to the defensive ring around the old town of Dubrovnik, fortifications like fortresses and walls were erected between the 14th and 19th centuries in strategically vital locations of the then-Republic of Ragusa. We conducted a military geography analysis of battleground around Dubrovnik during the Croatian Homeland War. OAKOC procedure and GIS tolls were used to reconstruct the impact of terrain and employed military tactics during the military operations of 1991. The military-geographical elements were examined to ascertain the significance and role of the Imperial Fortress in the successful defence of Dubrovnik, as well as the failure of the attackers to execute their plans. The analysis uncovered several critical factors for the successful defence. Firstly, there was only one access route for attackers to reach the Imperial Fortress, greatly favouring the defence. Secondly, the fortress\u27s placement facilitated excellent surveillance of both friendly and hostile forces. Thirdly, logistical support relied on a single footpath leading directly to the heart of Dubrovnik, concealed from the attackers\u27 view, ensuring that defenders were never without supplies. Holding the Srđ hill with the Imperial fortress in the hands of the defenders proved to be a key and decisive terrain during the siege of Dubrovnik.U svrhu obrane Grada Dubrovnika, osim obrambenog prstena oko starog grada Dubrovnika, na strateški važnim lokacijama tadašnje Dubrovačke Republike između 14. i 19. stoljeća izdrađene su tvrđave i obrambeni zidovi. U ovom radu je provedena vojno geografska analiza bojišta oko Grada Dubrovnika tijekom vojnih operacija 1991. godine. Upotrijebljena je OAKOC metodologija i GIS u svrhu rekonstrukcije utjecaja terena i primijenjene vojne taktike. Istraženi su vojnogeografski elementi kako si se utvrdila važnost i uloga tvrđave Imperijal u uspješnoj obrani i njenom utjecaju na neuspjeh napadača u provedbi njihovih planova. Analiza je otkrila nekoliko ključnih čimbenika za uspješnu obranu. Prvo, branitelji su bili u povoljnijem položaju jer je postojao samo jedan pristupni put za napadače do tvrđave Imperijal. Drugo, smještaj tvrđave omogućavao je izvrsno nadziranje prijateljskih i neprijateljskih snaga. Treće, logistička podrška ovisila je o jednoj pješačkoj stazi koja je vodila izravno do srca Dubrovnika, skrivena od pogleda napadača, ali je osiguravala braniteljima konstantnu mogućnost opskrbe. Zadržavanje brda Srđ s tvrđavom Imperijal u rukama branitelja pokazalo se ključnim i odlučujućim terenom tijekom opsade Dubrovnika