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Austrian Governor von Lilienbergand the Erotes of Salona
No full textNamjesnik Dalmacije za vrijeme Druge austrijske uprave, podmaršal Wenzel Alois Vetter Graf von Lilienberg (1831. – 1840.), po preuzimanju dužnosti odlučio je obići pokrajinu kako bi, po njegovim riječima, stekao vlastiti dojam i dobio valjane podatke o cjelokupnom socioekonomskom stanju. Putovanje koje je poduzeo trajalo je više od dvije godine, od 1832. do 1834. U detaljnom izvještaju vlastima u Beču iznio je opis provincije koji je obuhvaćao pregled zatečenog stanja i plan unaprjeđenja pokrajine. U jednom dijelu izvještaja iznosi opasku o Dalmatincima kao narodu koji ne mari za vlastite spomenike te ih uništava. Kao dokaz takvom ponašanju donosi crtež ulomka sarkofaga za koji piše da je iz Salone. Crtež i opis koji ga prati dio su čistopisa koji se čuva u Austrijskoj nacionalnoj knjižnici te do danas nisu objavljeni. Prikazani se spomenik čuva u Arheološkom muzeju u Zadru, a u suvremenoj se literaturi navodi da je iz okolice Zadra ili Biograda. Ovim istraživanjem, a na temelju arhivskih izvora, pokazuje se da je spomenik iz Salone, a da je u Zadar prenesen za vrijeme namjesništva grofa von Lilienberga.Wenzel Alois Vetter Graf von Lilienberg (1831-1840), governor of Dalmatia during the Second Austrian Administration, decided to tour the province after assuming office in order to, in his words, gain his own impression and obtain valid data on the overall socioeconomic situation. His journey lasted more than two years, from 1832 to 1834. In a detailed report to the authorities in Vienna, he presented a description of the province that included a survey of the current situation and a plan for improvement. In one part of the report, he makes a remark about the Dalmatians as a people negligent of their monuments and destroying them. As evidence of such behaviour, he attached a drawing of a sarcophagus fragment, allegedly from Salona. The drawing and the accompanying description are part of an unpublished manuscript kept in the Austrian National Library. The depicted monument is kept in the Archaeological Museum in Zadar, and present-day scholarly literature locates it to the surroundings of Zadar or Biograd. This research, based on archival sources, shows that the monument originated from Salona, and that it was transferred to Zadar during the governorship of Count von Lilienberg
Pogled u šibensku zlatarsku radionicu iz 15. stoljeća
No full textThis paper examines the goldsmithing practices of Stjepan Ivanov Skočibuha – a prominent 15th-century goldsmith from Šibenik – based on his 1444 estate inventory, which includes a detailed inventory of his goldsmith workshop, likely located in the northeastern part of Šibenik, similar to other goldsmith workshops of the time. By analysing the tools, materials, and objects listed in the inventory, along with other archival sources, the operational structure of his workshop has been partially reconstructed, revealing some of the goldsmithing techniques he employed and the types of items he produced. The paper also addresses the challenges in attributing medieval goldsmiths’ works, particularly due to the shared use of stamping moulds among craftsmen. This is evidenced by the sale of Skočibuha’s tools after his death, as well as other documents showing that different goldsmiths used the same equipment. Furthermore, the paper explores the goldsmiths’ apprenticeship system and the transmission of knowledge in 15th-century Šibenik, highlighting the importance of training in the continuity of the craft.U radu se istražuje zlatarsko djelovanje Stjepana Ivanova Skočibuhe – istaknutoga šibenskog zlatara iz 15. stoljeća – na temelju inventara njegovih dobara iz 1444. godine, koji uključuje i popis njegove zlatarske radionice, po svemu sudeći, smještene u sjeveroistočnom dijelu Šibenika, poput nekih drugih zlatarskih radionica. Analizom alata, materijala i predmeta zabilježenih u inventaru, u kombinaciji s drugim arhivskim izvorima, nastoji se rekonstruirati rad njegove radionice te rasvijetliti zlatarske tehnike kojima se koristio i vrste predmeta koje je izrađivao. U radu se također upućuje na izazove pri atribuciji srednjovjekovnih zlatarskih radova zbog prijenosa matrica među obrtnicima, o čemu svjedoči prodaja Skočibuhinih alata nakon njegove smrti, ali i drugi dokumenti iz kojih doznajemo da su se istim alatima koristili različiti zlatari. Osim toga, u radu se istražuje sustav zlatarskog naukovanja i prijenosa znanja u Šibeniku tijekom 15. stoljeća te se ističe značenje naukovanja u održavanju kontinuiteta zlatarskog obrta
Zwischen Deutschland und Italien – Friedrich II. von Hohenstaufen in Romanen des 19. Jahrhunderts
No full textDer vorliegende Aufsatz analysiert und vergleicht vier von zwölf deutschen historischen Romanen aus dem 19. Jahrhundert, die sich dem Stauferkaiser Friedrich II. (1194-1250) widmen. Im Kontext der zeitgenössischen Bestrebungen um nationale Einheit und der Suche nach patriotischen Mythen ist ein Aspekt der Analyse das in den Texten geschilderte Verhältnis des Kaisers zu Deutschland und zu Italien und, damit zusammenhängend, der Kampf dieses Kaisers mit den Päpsten seiner Zeit. Es wird gezeigt, wie die Autoren ein Friedrichbild konstruieren und hierbei ggf. von der historischen Realität abweichen, sowie ob, wie oder wie wenig sie die Kultur des Mittelmeerraumes beschreiben.This article analyzes and compares four out of twelve 19th-century German historical novels devoted to the Hohenstaufen emperor Frederick II (1194-1250). In the context of contemporary efforts towards national unity and the search for patriotic myths, one aspect of the analysis is the emperor’s relationship to Germany and to Italyas conveyed in the texts and, related to this, the fight between this emperor and the popes of his time. It will be shown how the authors construct an image of Frederick and, if necessary, how they deviate from historical reality, as well as whether, how or how little they describe the culture of the Mediterranean
Lyric Poetry from the „Third Place“ On Rainer Maria Rilke’s Florence Poems (1898)
No full textRainer Maria Rilkes Lyrik aus dem Jahr 1898 ist überschaubar und vergleichsweise wenig geachtet. Im Mittelpunkt des Interesses steht in der Forschung das ‚Florenzer Tagebuch‘, das erst posthum 1942 veröffentlicht worden ist. Als Journal einer Bildungsreise im Frühjahr 1898 nach Florenz und Viareggio hält es Kunstwerke der Renaissance-Stadt, Besuche der großen Sammlungen und berühmten Kirchen fest, enthält aber keine eigene Lyrik. Gedichte entstehen dennoch mit von diesen Veduten ganz abweichenden Motiven und ohne klassische Formen. Sie haben weder die großen Vorbilder der Kunst noch die Welt des alltäglichen Touristen zum Gegenstand, sondern bewegen sich topografisch an einem ‚Dritten Ort‘, der als Peripherie und umgebende Landschaft erkennbar ist, aber auch im Personal der kleinen Leute, der unbedeutenden jungen Mädchen, der abgelegenen Rituale einer volkstümlichen Religion. Aus diesen ‚neuen‘ Kontexten schafft Rilke eine Lyrik und Poetik, die sich von epigonalen Stilen der Italien-Dichtung in Mittel- und Nordeuropa absetzt.Rainer Maria Rilkes Lyrik aus dem Jahr 1898 ist überschaubar und vergleichsweise wenig geachtet. Im Mittelpunkt des Interesses steht in der Forschung das ‚Florenzer Tagebuch‘, das erst posthum 1942 veröffentlicht worden ist. Als Journal einer Bildungsreise im Frühjahr 1898 nach Florenz und Viareggio hält es Kunstwerke der Renaissance-Stadt, Besuche der großen Sammlungen und berühmten Kirchen fest, enthält aber keine eigene Lyrik. Gedichte entstehen dennoch mit von diesen Veduten ganz abweichenden Motiven und ohne klassische Formen. Sie haben weder die großen Vorbilder der Kunst noch die Welt des alltäglichen Touristen zum Gegenstand, sondern bewegen sich topografisch an einem ‚Dritten Ort‘, der als Peripherie und umgebende Landschaft erkennbar ist, aber auch im Personal der kleinen Leute, der unbedeutenden jungen Mädchen, der abgelegenen Rituale einer volkstümlichen Religion. Aus diesen ‚neuen‘ Kontexten schafft Rilke eine Lyrik und Poetik, die sich von epigonalen Stilen der Italien-Dichtung in Mittel- und Nordeuropa absetzt.Rainer Maria Rilke’s poetry from 1898 is not held in high esteem by connoisseurs. Scholars focus rather on the ‘Florence Diary’, published posthumously in 1942. As a journal from an educational trip to Florence and Viareggio in the spring of 1898, it records visits to Renaissance artworks, great collections and famous churches, but it does not contain any poetical and lyrical traces. Nevertheless, poems do emerge but their motifs deviate from picturesque vedutas and classical forms; their objects are neither the great examples of art nor the everyday world of tourists but they rather moves to so-called ‘third places’, topographically recognizable in the city periphery and surrounding landscapes as well as the choice of ordinary people as poetic characters, insignificant young girls on their pilgrimage to sacred sites of the Madonna, and remote rituals of popular religion. From these ‘new’ contexts Rilke tries to create a poetry and poetics of his own, which contrasts with the epigonal style of poetry on Italy from central and northern Europe
Editorial
No full textGEM 5 hat mediterrane Interkulturalität in der deutschen Sprache, Literatur und Kultur zum Gegenstand. Bei fünf Beiträgen handelt es sich um schriftlich ausgearbeitete Vorträge, die auf dem Kongress der Gesellschaft für interkulturelle Germanistik (GiG) über „Interkulturelle Räume: historische Routen und Passagen der Gegenwart mit besonderer Berücksichtigung des Mittelmeers“ gehalten wurden. Diese Veranstaltung wurde vom 19. bis 22. April 2022 von der Abteilung für Germanistik der Universität Zadar virtuell ausgerichtet, zu einem Zeitpunkt als epidemiologische Beschränkungen dort noch nicht außer Kraft gesetzt waren.The subject matter of GEM 5 is Mediterranean interculturality in German language, literature, and culture. Five of six contributions are proceedings from the international congress of the German Society for Intercultural German Studies, Gesellschaft für interkulturelle Germanistik (GiG), on “Intercultural Spaces – Historical Routes and Passages of the Present Time Considering the Mediterranean in Particular”, hosted by the Department of German Studies at the University of Zadar. The event was held online April 19-22, 2022, at a time when epidemiological measures were not yet suspended there.GEM 5 ima za predmet mediteransku interkulturnost u njemačkom jeziku, književnosti i kulturi. Pet od ukupno šest radova temelje se na podnescima s međunarodnog znanstvenog skupa njemačkog Društva za interkulturnu germanistiku, Gesellschaft für interkulturelle Germanistik (GiG), u organizaciji Odjela za germanstiku Sveučilišta u Zadru, na temu „Interkulturni prostori: povijesne rute i pasaže u sadašnjosti s posebnim obzirom na Sredozemlje“, održan od 19. do 22. travnja 2022. godine virtualno s obzirom da u tom trenutku epidemiološke mjere još nisu bile stavljene izvan snage
Underwater archaeological trial survey in Vranjic near Solin
No full textNiz antičkih spolija ugrađenih u vranjičke kuće, brojni slučajni nalazi otkriveni tijekom građevinskih zahvata na kopnu i u moru koje u svojim tekstovima spominje don Frane Bulić, poznati vranjički potopljeni sarkofazi te nalazi iz opsežnijih građevinskih iskopa za potrebe izgradnje infrastrukture početkom 21. stoljeća upućivali su na činjenicu kako je riječ o prostoru koji obiluje arheološkom baštinom.Rich archaeological heritage of the area of Vranjic is evidenced in ancient spolia incorporated into houses in Vranjic, numerous accidental finds uncovered during construction activities both on land and underwater, references in the writings of Don Frane Bulić, the well-known sunken sarcophagi of Vranjic, and discoveries made during large-scale infrastructure excavations in the early 21st century
Uvodnik
No full textZadovoljstvo nam je predstaviti vam novi Godišnjak Sveučilišta u Zadru, koji donosi pregled ustroja Sveučilišta te svakodnevnih protokolarnih, kulturnih i znanstvenih aktivnosti koje su obilježile naše Sveučilište u akademskoj godini 2023./2024
Психоаналитическая модель русского «серединного»человека в рассказе В. Маканина «Антилидер»
No full textThe article examines, in a cognitive and psychoanalytical aspect, the features of the Russian national character described in Vladimir Makanin’s story “Antileader”, written in 1984, during the period of Soviet stagnation and totalitarianism, using the example of a literary character model. Starting from the type of Gogol’s “little man”, evolving from masochism to rebellion, from obsessive to epileptoid psychotype, a vertical of Russian character traits with sado-masochistic accentuation is built. As a result of the “crowdedness” and lack of prospects for the social series in closed non-democratic communities like Soviet Russia, an aggressive type of behaviour was formed. Even in absolutely neutral, non-threatening conditions (with a clearly subordinated opponent), the dominant member of the social group behaved in an aggressive manner in order to satisfy narcissistic needs that were not channelled naturally (for example, through career growth or increased consumption of material and social goods). This is illustrated in this study using the example of Makanin’s “middle man” who finds himself in a classic “sado-masochistic swing”. Suppressed by authoritarian communication models at home and at work, the protagonist displaces his unrealized narcissistic needs in street fights and similar confrontations, while unconsciously becoming an instrument of the collective mind, levelling everything that goes beyond Soviet standards.В статье в когнитивном и психоаналитическом аспекте на примере модели литературного персонажа рассматри- ваются особенности русского национального характера, описанные в рассказе Владимира Маканина «Антилидер», созданном в 1984 году, в период советской стагнации и тоталитаризма. Начиная с типа гоголевского «маленького человека», эволюционирующего от мазохизма к бунту, от обсессии к эпилептоидному психотипу, в качестве фона в статье выстраивается вертикаль русских персонажных ха- рактеристик с садомазохистской акцентуацией. В резуль- тате «тесноты» и бесперспективности социального ряда в закрытых недемократических сообществах по типу совет- ской России формировался агрессивный тип поведения. Даже в абсолютно нейтральных, не несущих угрозу услови- ях (при заведомо подчинeнном противнике), доминантный член социальной группы вел себя по агрессивному типу, чтобы удовлетворить не канализированные естественным образом (например, через карьерный рост или рост потре- бления материальных и социальных благ) нарциссические потребности. Это проиллюстрировано в данном исследо- вании на примере маканинского «серединного человека», попадающего в классические «садомазохистские качели». Задавленный авторитарными моделями коммуникации и в семье, и на работе, главный герой вытесняет свои нереали- зованные нарциссические потребности в уличных драках и т. п., одновременно бессознательно становясь орудием коллективного разума, нивелирующим все выходящее за рамки советских стандартов
Iconographic Patterns in the Commissioning Strategies of Zadar’s Archbishop Maffeo Vallaresso (1450–1494)
No full textU članku se ocrtava naručiteljski profil zadarskog nadbiskupa Maffea Vallaressa, njegov arhitektonski i likovni ukus te strategije ikonografskih i svjetonazorskih koncepata, čiji se obris učitava u specifičnosti složenih političkih, društvenih i kulturnih odnosa u zadarskom quattrocentu. Dva su ključna činitelja profila Vallaressove osobnosti i njegove eklezijastičke pozicije; s jedne strane on je istaknuti humanist koji u Zadru promovira uobičajene kulturne prakse, dok je s druge strane bio vrstan kanonski pravnik. Zasjevši 1451. godine na zadarsku katedru, on je oba ta habitusa projicirao u nizu naručiteljskih aktivnosti, no s vremenom su prevladale one iz domene kanonskog prava i ikonografskih strategija. To je prije svega uključivalo uređenje crkvenih odnosa između nadbiskupije i podvrgnutih joj subjekata koji su kroz kasno srednjovjekovlje stekli različite standarde financijske i organizacijske samostalnosti, ali i ulogu zadarskog nadbiskupa u procesima podvrgavanja nekoć moćne srednjovjekovne komune novim državnim okvirima i njihovim procesima, osobito kroz transformacije semantičkih slojeva srednjovjekovnih kultova gradskih zaštitnika kojima je nadbiskup pokrovitelj kao produžena ruka državnih struktura Serenissime.This paper examines the commissioner profile of Maffeo Vallaresso, Archbishop of Zadar, focusing on his architectural and artistic preferences and the iconographic strategies embedded in the complex political, social, and cultural dynamics of Zadar’s quattrocento. Two defining aspects of Vallaresso’s personality and ecclesiastical function emerge: his status as a prominent humanist who fostered the corresponding cultural practices in Zadar, and his expertise in canon law. Serving as Zadar’s archbishop from 1451, Vallaresso projected these dual aspects of his identity through a range of commissions. Over time, the characteristics reflecting his legal expertise and his iconographic strategies became increasingly dominant. His projects primarily aimed to regulate ecclesiastical relations between the archdiocese and its subjects, which, by the late Middle Ages, had developed varying degrees of financial and organizational independence. Furthermore, the archbishop played a crucial role in aligning the once powerful medieval commune of Zadar with the state frameworks of the Serenissima, especially by transforming the semantic layers associated with the medieval cults of Zadar’s patron saints, which positioned him as a direct agent of Venetian political interests