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Sea and Sky as Primordial Elements in Platen’s Sonette aus Venedig
No full textVenice might be thought of as a location between land and water, but the land-water surface of Venice is a work of art, not earth. The building of this surface upon stilts began during the period of Barbarian invasions of Rome in the fifth and sixth centuries, by refugees from the mainland who in time established a Republic that lasted over a thousand years. August von Platen visited Venice 27 years after the Republic’s capitulation, while it was under Austrian occupation. Sonette aus Venedig weaves an aesthetic fugue of sea and sky as primordial elements (with minimal but noteworthy references to land), to offer Venice up as heavenly Aphrodite, the personification of the beautiful work of art. But art no longer mediates between humanity and divinity, and the heavenly beauty seems to survive in echoes, shadows, and dreams. The cycle also offers reflection on the image of the refugees, not washing up on the shore, but fleeing from land to sea, to build a conduit for tradition during a barbarian rupture.Venedig kann als Ort zwischen Land und Wasser gedachte werden, doch die Land-Wasser-Oberfläche Venedigs ist ein Kunstwerk, keine Erde. Der Bau dieser auf Stelzen errichteten Fläche begann während der Zeit der Völkerwanderungen im fünften und sechsten Jahrhundert durch mutige Flüchtlinge vom Festland, die schließlich eine über tausend Jahre währende Republik gründeten. August von Platen besuchte Venedig 27 Jahre nach der Kapitulation der Republik, als die Stadt unter österreichischer Besatzung stand. Sonette aus Venedig (1824) erschaffen eine ästhetische Fuge aus Meer und Himmel als Urelementen (mit wenigen, aber bemerkenswerten Bezügen zum Land), um Venedig als himmlische Aphrodite, die Personifizierung des vollkommenen Kunstwerks, darzustellen. Doch die Kunst vermittelt nicht mehr zwischen Menschen und Göttlichkeit, und die himmlische Schönheit scheint nur in Echos, Schatten und Träumen fortzuleben. Der Zyklus regt auch zum Nachdenken über das Bild der Flüchtlinge an, die nicht an den Strand gespült wurden, sondern vom Land aufs Meer flohen, um inmitten des barbarischen Einbruchs einen Weg zur Fortführung der Tradition zu finden.Venice might be thought of as a location between land and water, but the land-water surface of Venice is a work of art, not earth. The building of this surface upon stilts began during the period of Barbarian invasions of Rome in the fifth and sixth centuries, by refugees from the mainland who in time established a Republic that lasted over a thousand years. August von Platen visited Venice 27 years after the Republic’s capitulation, while it was under Austrian occupation. Sonette aus Venedig weaves an aesthetic fugue of sea and sky as primordial elements (with minimal but noteworthy references to land), to offer Venice up as heavenly Aphrodite, the personification of the beautiful work of art. But art no longer mediates between humanity and divinity, and the heavenly beauty seems to survive in echoes, shadows, and dreams. The cycle also offers reflection on the image of the refugees, not washing up on the shore, but fleeing from land to sea, to build a conduit for tradition during a barbarian rupture
Allegorisation in Mary’s Miracles as a Sign of “the New Sensitivity” of the Middle Ages
No full textRad na tem atsko-motivskoj i idejnoj razini analizira priče o Marijinim čudima objavljene u zbirci Mirakuli slavne deve Marije (Senj, 1508.). Prepoznajući alegorijska značenja pojedinih priča i zbirke kao cjeline, reinterpretiraju se mirakuli kao zasebna srednjovjekovna književna vrsta. Time se nastoji afirmirati njihova vrijednost ne samo u okviru pučke teologije i pučko-propovjedne književnosti, već i s obzirom na njihove estetske značajke te novu duhovnost i „novu osjećajnost” srednjega vijeka (termin rabi Dürrigl 2013) potencijalno zanimljivu čitateljima 21. stoljeća. Teorijsku podlogu rada sačinjavaju ponajprije spoznaje iz znanosti o književnosti, i to one koje pojašnjavaju poetičke osobine mirakula te one koje otkrivaju višeslojnost alegorije. Budući da alegorija zahvaća druge discipline, poput teologije i biblijske egzegeze, i proizlazi iz njih te da je riječ o Marijinim mirakulima, dijelom će se rad osloniti i na srednjovjekovne te suvremene crkvene dokumente i znanstvene radove o ulozi Blažene Djevice Marije u povijesti spasenja. Cilj je rada u kontekstu novoga srednjovjekovnog poimanja Boga analizirati snagu alegorije kao figure i književne vrste pokazujući da se alegorizacijom kao postupkom pridavanja alegorijskoga značenja spaja etička i estetska komponenta, pa tako ovi kratki tekstovi – dosad percipirani kao primjer naivne, zabavne i pomalo bizarne književnosti nabožnoga karaktera – pokazuju i potencijal za otkrivanje i doživljavanje lijepoga, skladnoga, slikovitoga i domišljatoga književnoumjetničkoga svijeta.The paper analyses the stories about Mary’s miracles published in the collection Mirakuli slavne deve Marije (Senj, 1508). The analysis focuses mainly on themes, motives, and ideas. By recognising the allegorical meanings of individual stories and the collection as a whole, miracles are reinterpreted as a special medieval literary genre, thus attempting to affirm their value not only within the framework of folk theology and literature inspired by folk sermons, but also concerning their aesthetic characteristics and new spirituality, s well as “new sensitivity” of the Middle Ages (term used in Dürrigl 2013) potentially interesting to readers of the twenty-first century. The theoretical background of the paper comes primarily from literary studies, explaining the poetic features of miracles and insights that reveal the multi-layered nature of allegory. Since allegory encompasses and arises from other disciplines such as theology and biblical exegesis, and since it concerns Mary’s miracles, the paper partly relies on medieval and contemporary church documents on the role of the Blessed Virgin Mary in the history of salvation. The paper aims to analyse the power of allegory as a figure and literary genre in the context of the new medieval perception of God, showing that allegorisation, as the process of assigning allegorical meaning, combines ethical and aesthetic components. Consequently, these short texts – hitherto perceived as examples of naive, entertaining, and somewhat bizarre, religious literature – also show the potential for discovering and experiencing a beautiful, harmonious, picturesque, and imaginative literary and artistic world
Современные короткометражные фильмы в практике преподавания русского языка как иностранного
No full textNatallia Kabiak: Learn Russian through Contemporary Short Film. London and New York: Routledge Taylor & Francis Group, 2024. ISBN: 978-1-032-73938-0Natallia Kabiak: Learn Russian through Contemporary Short Film. London and New York: Routledge Taylor & Francis Group, 2024. ISBN: 978-1-032-73938-
Adoption of the Model of Socially Directed Housing Construction in the 1970s: Challenges and Lessons from the Krnjevo Housing Estate in Rijeka
No full textČlanak analizira provedbu društveno usmjerene stambene izgradnje (DUSI) u Rijeci na studiji slučaja naselja Krnjeva, zamišljenog kao ogledni projekt novog pristupa socijalističkoj stanogradnji 70-ih godina 20. stoljeća. DUSI reforma trebala je osigurati veću participaciju građana i radnih organizacija u odlučivanju o tipologiji, standardu i lokaciji stanova, no riječko iskustvo upućuje na niz institucijskih i organizacijskih slabosti. Projekt „visokog” Krnjeva, s inovativnim urbanističkim konceptom linearnih megastruktura i egalitarnom orijentacijom stanova prema moru, suočio se s otporom javnosti i investitora zbog visoke cijene, tehničkih rizika i smanjenog povjerenja u gradske institucije. Odbacivanjem „visokog” Krnjeva razvijena je kompromisna varijanta „niskog” naselja, koja je, unatoč tipološkoj inovaciji, imala manjkavosti u kvaliteti stanovanja i infrastrukture. Analiza pokazuje kako su nedostatci koordinacije, političke komunikacije i birokratske strukture ograničili reformski potencijal DUSI modela. Istovremeno, slučaj Krnjeva ilustrira kako su građani iskoristili mogućnosti participacije da utječu na prostorne odluke, što se može tumačiti kao rijedak primjer afirmacije deklariranih načela samoupravljanja u urbanističkoj praksi socijalističke Jugoslavije.The article examines the implementation of the socially directed housing construction (DUSI) model in Rijeka through a case study of the Krnjevo housing estate, conceived as a pilot project for a new approach to socialist housing construction in the 1970s. The DUSI reform aimed to ensure greater participation of citizens and labour organisations in decisionmaking on housing typology, standards, and location, yet the experience in Rijeka reveals a number of institutional and organisational weaknesses. The “high-rise” Krnjevo project – with its innovative urban concept of linear megastructures and egalitarian orientation of apartments toward the sea – faced public and investor resistance due to high costs, technical risks, and declining trust in city institutions. Following the rejection of the high-rise variant, a compromise “low-rise” alternative was developed, which, despite typological innovations, exhibited shortcomings in housing quality and infrastructure. The analysis demonstrates that a lack of coordination, political communication, and bureaucratic efficiency limited the reform potential of the DUSI model. At the same time, the Krnjevo case illustrates how citizens used opportunities for participation to influence spatial decisions, which can be seen as a rare example of the affirmation of the declared principles of self-management in urban planning practice in socialist Yugoslavia
Scents and Colours of the Dalmatian South in the Architecture of Zlatko Ugljen
No full textU radu se predstavljaju idejni i realizirani projekti akademika Zlatka Ugljena (Mostar, 1929.) koji se povezuju s područjem hercegovačkog juga i blizinom jadranske obale, u širokome vremenskom lûku od gotovo pola stoljeća. Akademik Zlatko Ugljen najvažnije je ime suvremene arhitektonske scene Bosne i Hercegovine i član je triju akademija znanosti i umjetnosti. Odabrani projekti otkrivaju prepoznatljiv pristup autora u arhitektonskom oblikovanju i mišljenju, koji bi se mogao sažeti u temeljitom proučavanju i uvažavanju duha mjesta (genius loci) i specifične kulturne geografije u kojoj se suvremena arhitektura otvara dijalogu sa zatečenim strukturama, običajima i graditeljskim tradicijama. Ugljenov rukopis prati se u odnosu na utjecaje njegovih profesora, tada aktualne tendencije u europskoj arhitekturi kao i na njegovo osobito mjesto u arhitekturi sarajevskog kruga. Odabrani realizirani i idejni projekti iz Stoca i Mostara ujedno upućuju na specifične odlike arhitektonskog nasljeđa Bosne i Hercegovine, nastalog u susretu različitih kultura i tradicija, koje svoje refleksije nalaze i u suvremenim tematizacijama Zlatka Ugljena.The paper presents conceptual and realized projects by academician Zlatko Ugljen (Mostar, 1929) connected to the southern Herzegovinian region and its proximity to the Adriatic coast, spanning a wide time frame of nearly half a century. Ugljen is the most prominent figure on the contemporary architectural scene of Bosnia and Herzegovina and a member of three academies of sciences and arts. The selected projects reveal his distinctive approach to architectural design and thought, which can be summarized as a thorough study of, and deep respect for, the spirit of the place (genius loci) and the specific cultural geography in which contemporary architecture enters into dialogue with existing structures, customs, and building traditions. Ugljen’s architectural language is examined in relation to the influence of his professors, the prevailing trends in European architecture at the time, and his unique position within the architectural circles of Sarajevo. The selected realized and conceptual projects from Stolac and Mostar also highlight the particular features of Bosnia and Herzegovina’s architectural heritage – formed at the intersection of diverse cultures and traditions – which find their reflections in the contemporary architectural themes of Zlatko Ugljen
In Memory of Tomislav Marasović (September 15, 1929 – October 16, 2024)
No full textMonumentalno životno djelo sveučilišnog profesora, konzervatora i povjesničara umjetnosti dr. sc. Tomislava Marasovića ima tri velike istraživačke cjeline. Prvu predstavlja proučavanje ranosrednjovjekovne arhitekture u Dalmaciji, drugu kompleksna prenamjena Dioklecijanove palače u gradsku jezgru Splita, a treću teorija i povijest zaštite nepokretne kulturne baštine u Hrvatskoj i Europi. U razdoblju od šezdesetih do osamdesetih godina 20. stoljeća braća Marasović bila su predvodnici primjene teorijski utemeljene metode aktivne zaštite graditeljskog nasljeđa u Splitu, Hrvatskoj i Jugoslaviji. T. Marasović 1975. godine bio je autor idejne koncepcije, suosnivač i voditelj jedinog i inovativnog Poslijediplomskog studija graditeljskog nasljeđa u Splitu. S nastavnim programom povezano je objavljivanje njegovih knjiga: Zaštita graditeljskog nasljeđa (1983.) i Aktivni pristup graditeljskom nasljeđu (1985.), koje su postale standardni sveučilišni udžbenici. Braća Marasović doprinijela su međunarodnom promicanju hrvatske kulturne baštine jer je arhitekt J. Jokilehto detaljno prikazao njihova teorijska stajališta, rezultate istraživanja i metode intervencije na primjerima u Dioklecijanovoj palači u Splitu u kapitalnom djelu A History of Architectural Conservation (1999.).The monumental life work of the university professor, conservator, and art historian Tomislav Marasović can be considered in three major research areas. The first is the study of early medieval architecture in Dalmatia; the second, the complex transformation of Diocletian’s Palace into the urban core of Split; and the third, the theory and history of the protection of immovable cultural heritage in Croatia and Europe. From the 1960s to the 1980s, the Marasović brothers were pioneers in applying a theoretically grounded method of active conservation of architectural heritage in Split, Croatia, and Yugoslavia. In 1975, T. Marasović conceived, co-founded, and directed the innovative Postgraduate Programme in Architectural Heritage in Split, unique in this region. Closely connected to this academic programme was the publication of his books Protection of Architectural Heritage (1983) and Active Approach to Architectural Heritage (1985), which became standard university textbooks. The Marasović brothers thus contributed to the international recognition of Croatian cultural heritage, especially when architect J. Jokilehto presented in detail their theoretical positions, research results, and intervention method on examples from Diocletian’s Palace in Split in his capital work A History of Architectural Conservation (1999)
Two Contributions to the Study of Stonemasons’ Workshops in Zadar
No full textŠtivo je rasprava o baroknome počasnom spomeniku istaknutome na obrazu bočnoga krila Providurove palače, te o ulomcima romaničkih reljefa koji su preklesani postali dio građe za taj spomenik. On je nastao zacijelo u ranim godinama 17. stoljeća, kada je palača podignuta te posvjedočena i s natpisom na pročelju iz 1607. godine. U 19. stoljeću ona je opsežno preuređena i povišena. Tada je spomenik s nepoznatoga prvotnog položaja premješten tamo gdje se i danas nalazi. S nedavno provedenim konzervatorskim radovima otkriveni su ulomci reljefa koji stilskim odlikama govore o djelima romaničke klesarske radionice iz 12. i 13. stoljeća. To su dijelovi liturgijskoga namještaja, možda ograde svetišta ili ograde propovjedaonice, iz neke zadarske crkve. Pored palače nalazi se bazilika Sv. Stjepana. U vremenu građenja palače crkva je opsežno preuređena, a 1632. godine i posvećena kao novi hram Sv. Šime. Ipak, nije moguće sa sigurnošću tvrditi da su romanički ulomci iz građe baroknoga spomenika dijelovi negdašnjega kamenog namještaja upravo iz te bazilike. Međutim, oni znatno pridonose spoznaji o većoj djelatnosti i većem broju djela vrijedne klesarske radionice u Zadru iz romaničkoga razdoblja.The text discusses a Baroque honorary monument on the side façade of the Provveditore’s Palace and the fragments of Romanesque reliefs that were re-carved and incorporated into its structure. The monument was created, in all likelihood, in the early years of the 17th century, when the palace itself was built, as attested by the inscription on the façade dated 1607. During the 19th century, the building was extensively remodelled and raised in height. At that time, the monument, originally located elsewhere, was moved to its present position. Recent conservation work has revealed fragments of reliefs whose stylistic characteristics indicate that they originated from a Romanesque stonemasons’ workshop active in the 12th and 13th centuries. These are pieces of liturgical furnishings, perhaps from a chancel screen or pulpit railing, from one of Zadar’s churches. Next to the palace stands the basilica of St Stephen. When the palace was constructed, the church underwent major alterations and, in 1632, was consecrated as the new church of St Simeon. Although it cannot be stated with certainty that the Romanesque fragments reused in the Baroque monument’s structure came specifically from that basilica, they significantly contribute to our understanding of the scope and productivity of a highly skilled Romanesque stonemasons’ workshop active in Zadar during that period
Notes on the Sacred Topography of Osor
No full textU radu su sabrani podatci o crkvama i kapelama koje su postojale u urbanom arealu Osora, a kojima više nema traga. Znanja o tim građevinama vrlo su oskudna zbog niskog stupnja proučenosti pisane građe i tek djelomično provedenih arheoloških iskapanja. Uz sabiranje rijetkih navoda u literaturi, u ovom su radu sustavno analizirani najraniji izvori o crkvama: Popis dobara Osorske biskupije iz 1534., apostolske i kanonske vizitacije (Agostino Valier, 1579., Michele Priuli 1603., te Valerij Ponte, 1645.) te dio pisane građe osorske kancelacije iz prvih desetljeća 16. stoljeća. Dio proučenih crkava zabilježen je na katastarskoj izmjeri Franje I. iz 1821. godine. U radu je obrađeno četrnaest crkava koje su podijeljene na one izvan i unutar zidina, nakon sedamdesetih godina 15. stoljeća kada je gradnjom novoga „mletačkog” zida reduciran raniji areal grada. Rad donosi osnovne podatke o crkvama, ostatcima arhitekture i opreme, s namjerom da sabrani podatci posluže kao alat za daljnja istraživanja urbane i sakralne topografije Osora.This paper gathers information on the churches and chapels that once existed within the urban area of Osor, but of which no trace survives today. Knowledge of these buildings is extremely limited due to the low level of research into written sources and the only partially conducted archaeological excavations. In addition to collecting the few references found in the literature, this study systematically analyses the earliest churches based on the list of properties of the Diocese of Osor from 1534, apostolic and canonical visitations (Agostino Valier, 1579; Michele Priuli, 1603; and Valerio Ponte, 1645), as well as part of the written records of the Osor chancery from the first decades of the 16th century. Some of the examined churches are also recorded in the cadastral survey of Francis I from 1821. The paper discusses fourteen churches, divided into those situated outside and those within the town walls after the 1470s, when the construction of the new “Venetian” wall reduced the earlier urban area. Basic information on each church, its surviving architectural remains, and furnishings is presented, with the intention that the collected data serve as a tool for further research into the urban and sacred topography of Osor
Closing the Circle: (Don’t) Trust the Narrator. The Case of the Children’s Sanatorium in Krvavica
No full textPublikacija (Ne) vjeruj pripovjedaču. Slučaj dječjeg lječilišta u Krvavici objavljena je 2024. godine kao zbirka raznorodnih tekstnih i vizualnih priloga koja sveobuhvatno prikazuje slučaj modernističkog kompleksa koji je u obalnom mjestu Krvavici, nedaleko od Makarske, kao lječilište za djecu s respiratornim bolestima vojnih osiguranika, sredinom 60-ih godina 20. stoljeća projektirao arhitekt Rikard Marasović. Publikacija istražuje povijest kompleksa – koji je od izgradnje promijenio nekoliko namjena, a početkom 21. stoljeća napušten je, zaboravljen i prepušten propadanju – ali i dokumentira djelovanje inicijativa koje ga od njegova ponovnog otkrivanja 2008. godine do danas dokumentiraju, predstavljaju javnosti te zagovaraju njegovu zaštitu i aktivaciju, zbog čega postaje simbol i žarište regionalne borbe za očuvanje arhitekture visokog modernizma socijalističke Jugoslavije. Ovaj tekst predstavlja publikaciju, analizira njezinu koncepciju, strukturu i sadržaj te reflektira njezino značenje u širem kontekstu bilježenja i zaštite modernističkoga graditeljskog nasljeđa.The book (Don’t) Trust the Narrator. The Case of the Children’s Sanatorium in Krvavica, published in 2024, is a collection of diverse textual and visual contributions that offers a comprehensive presentation of a modernist complex in the coastal town of Krvavica, near Makarska. The complex was designed in the mid-1960s by architect Rikard Marasović as a sanatorium for children with respiratory diseases coming from families with military insurance. The volume explores the history of the complex, which, since its construction, has been repurposed several times and, at the beginning of the 21st century, was abandoned, forgotten, and left to decay. It also documents the work of initiatives which, since the complex’s rediscovery in 2008, have been documenting it, presenting it to the public, and advocating for its protection and activation. The sanatorium has thus come to function as a symbol and focal point of the regional struggle for the preservation of the high modernist architecture of socialist Yugoslavia. This paper introduces the book, analyses its concept, structure, and content, and reflects on its significance in the broader context of recording and protecting modernist architectural heritage
O naglasku tipa pònos
No full textThe field of Croatian accentual studies is not coherent. Accent confuses both ordinary language users and language experts. This paper offers a contribution to the establishment of a normative stress pattern for noun formations derived through zero suffixation. Its primary objective is to trace the spread of the secondary long rising accent characteristic of the pónos and pródor type, as well as its encroachment upon the original short rising accent of the pònos and pròdor type in Croatian monolingual dictionaries. Furthermore, by comparing codified and attested stress patterns, the study also seeks to identify developmental trends within standard Croatian prosody as manifested in a corpus of relevant derivations– specifically, disyllabic masculine nouns formed by zero suffixation from verbs with originally short prefixes. The analysis reveals that, although the short rising accent remains present in monolingual dictionaries, its retention is not as consistent as in earlier bilingual dictionaries. There is frequent oscillation between the two rising accents, and doublets often emerge under the influence of analogy (e.g., dòpis and dópis, by analogy with zápis). The inconsistencies among dictionaries suggest an ongoing prosodic realignment. Examination of standard pronunciation practices indicates that the long rising accent is increasingly gaining ground and displacing the short rising variant–particularly in derivations with certain prefixes (e.g., do-, po-, pro-), and especially in more recent coinages, many of which are technical or specialised terms (e.g., dópis, pógon, prómet, úred). When choosing between the codified accentuation and the accentuation that has been verified in the Western Neo-Štokavian pronunciation, it is the latter than should be given priority.Područje akcentologije hrvatskoga standardnog jezika u nekim dijelovima nije sređeno i zbunjuje ne samo „obične” jezične korisnike nego i jezične stručnjake. Rad je prilog utvrđivanju naglasne norme imeničkih tvorenica nultim sufiksom. Cilj je rada pratiti širenje sekundarnoga dugouzlaznog naglaska tipa pónos, pródor na račun izvornoga kratkouzlaznog naglaska tipa pònos, pròdor u jednojezičnim rječnicima hrvatskoga jezika te na temelju usporedbe kodificiranoga i verificiranoga naglaska prepoznati razvojne tendencije hrvatskoga standardnojezičnog naglašavanja u korpusu predmetnih tvorenica – dvosložnih izvedenica muškoga roda nultim sufiksom od glagolā izvorno kratkih prefiksa. Pokazuje se da opstojnost kratkouzlaznoga naglaska u jednojezičnim rječnicima nije ugrožena, ali ne čuva se tako dobro kao u starijim, dvojezičnim rječnicima; često je kolebanje između dvaju uzlaznih naglasaka te dubliranje zbog analoških utjecaja (npr. dòpis i dópis prema zápis). Neusklađenost rječnikā upućuje na to da se radi o procesu koji je u tijeku. Ispitivanjem stanja u standardnoj zapadnonovoštokavskoj izgovornoj praksi utvrđeno je da je dugouzlazni naglasak u ekspanziji i potiskuje kratkouzlazni: pogotovo kod izvedenica s određenim prefiksima (do-, po-, pro-), u novijim tvorenicama od kojih su mnoge stručni nazivi (npr. dópis, pógon, prómet, úred). U izboru između kodificiranoga naglaska i naglaska koji je ustaljen u standardnoj zapadnonovoštokavskoj izgovornoj praksi prednost bi trebalo dati tomu drugom