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Realizing interoperable end-to-end systems for efficient open scholarly communication
No full textTo ensure the success of Open Science, we have to understand how it systematically changes the research system as a whole. This presentation focuses on the synthesis of the changing research landscape and the utilisation of policies, emerging tools, and practices into shaping end-to-end systems for embedding actionability in all research stages: planning, tracking, and assessing. Specifically, it will explore the designing of interconnected systems that involve Data Management Plans, Scientific Knowledge Graphs, and FAIR Assessors, all of which are essential components of research workflows
DARIAH-HR digital tools in the frame of Open Science
No full textResponsibility, ethics, inclusiveness, and the principles of Open Science are central to the advancement of scholarly research and publishing. By embracing these values, we can create a more transparent, collaborative, and accessible research ecosystem, as proposed by UNESCO (2022). However, there is a pressing need for effective tools that aid researchers in practising Open Science while addressing the specific requirements of disciplines such as the Humanities and Arts, especially in the context of the welldocumented prevalence of STEM disciplines over the Humanities in the development of Open Science and Open Access trends (Eve, 2014). The Digital Research Infrastructure for the Arts and Humanities (DARIAH-EU) consortium, formed by "researchers for researchers", is uniquely positioned to address this inequality while driving the development of an open ecosystem that naturally evolves from authentic community practices and needs (Tóth-Czifra, 2021). Croatia as a member country with its DARIAH-HR coordination office readily follows it in this endeavour by organising workshops, creating one-of-a-kind digital platforms and tools, etc.In this poster presentation we aim to introduce several digital tools designed or codesigned by DARIAH-HR for scholars in the fields of the Humanities and Arts (and broader): 1) a digital tool for the creation of thesauri, 2) a digital tool for creating registers, 3) a digital tool for generating GDPR-compliant forms for obtaining consent from data subjects and 4) a software for modelling, processing and representation of monumental heritage and culture of memory. While the first and second tools represent pioneering efforts to encompass the widest community of humanists and researchers in Croatia, the third and fourth tools provide in-depth solutions in their respective areas of focus, extending their reach to an international level and catering to a diverse audience that includes researchers as well as tourists.The digital thesaurus creation tool “tezaurus.hr” is designed to streamline the process of developing structured vocabularies relevant to the Humanities and Arts. The digital register development tool “DH Register” provides a user-friendly interface (currently in development) that enables researchers to create and curate registries, incorporating metadata standards while adhering to the requirements of the FAIR principles (as recommended in, e.g., Hahnel & Valen, 2020). The “Consent Form Wizard” (CFW) is a tool developed by the DARIAH-EU working group Ethics and Legality in Digital Arts and Humanities (ELDAH) to support humanities researchers within the European Union in obtaining valid consent for data processing in the context of their specific professional activity. “Monument Heritage Map” is a digital platform that allows the implementation of available data and methods for data collection, processing, multimodal visualisation and mapping of cultural monuments.When integrated into an Open Science framework, these tools provide researchers with efficient means to enhance knowledge organisation, resource sharing, and collaboration while upholding responsible research practices and promoting inclusivity within the academic community. Enabling researchers to create user-friendly thesauri and registers also facilitates the discoverability, interoperability, and accessibility of research outputs. Conclusively, it contributes to the development of a robust and interconnected research infrastructure.Through the presentation of these digital tools and their implications, this poster seeks to contribute to the discourse surrounding responsible and inclusive research in the context of the Humanities and Arts. It emphasises the significance of training, education, and capacity building for Open Science
Ratovanje generala Čada i odlazak 13. korpusa JNA iz Hrvatske
No full textIn order to be familiar with events in the Homeland War on the territory of western Croatia it is obligatory to assess the command and actions of the commandant of the 13th Rijeka Corps of the Yugoslav People’s Army (JNA), the Lieutenant General Marijan Čad. Up until the signature of the agreement with the representatives of the Croatian Government in November 1991 the General consistently carried out tasks entrusted to him by the JNA commands that were his superior. Commanding the troops in the territory of Lika and Gorski kotar he directed the armed combat of the JNA and the rebelled Serbs troops within the attack operation at the Republic of Croatia in the autumn of 1991. By getting the troops of the 13th Corps out of the area of Rijeka General Čad fulfilled his war mission and most of all he kept his civil rights in the Republic of Croatia. He remained for the many in the public opinion the saviour of the city of Rijeka from the destruction of war. By considering the sequence of events and some lesser known facts the paper endeavours to give the complete picture and the based assessment of his role and responsibility in war conflicts until the signature of the agreement regarding the 13th Corps departing from Croatia.Za poznavanje zbivanja u Domovinskom ratu na područjima zapadne Hrvatske nezaobilazna je prosudba zapovijedanja i postupaka komandanta 13. riječkog korpusa JNA general-potpukovnika Marijana Čada. General je sve do potpisivanja sporazuma s predstavnicima hrvatske vlasti u studenom 1991. dosljedno izvršavao povjerene mu zadatke od strane nadređenih mu zapovjedništava JNA. Zapovijedajući postrojbama na području Like i Gorskog kotara upravljao je borbenim djelovanjima postrojbi JNA i pobunjenih Srba, u okviru napadne operacije na Republiku Hrvatsku u jesen 1991. godine. Izvlačenjem postrojbi 13. korpusas riječkog područja general Čad je ispunio svoj ratni zadatak te povrh svega očuvao svoja građanska prava u Republici Hrvatskoj. U javnom mnijenju je za mnoge ostao spasitelj grada Rijeke od ratnih razaranja. Razmatrajući slijed događaja i pojedine manje poznate činjenice, u tekstu se nastojalo dati cjelovitu sliku i utemeljenu ocjenu njegove uloge, i odgovornosti u ratnim sukobima do potpisivanja sporazuma o odlasku 13. korpusa iz Hrvatske
100 godina učiteljstva u Gospiću i Lici
No full textZbornik radova Učitelj – između tradicije i suvremenostiThe Teacher: Between Tradition and ModernitySveučilište u ZadruOdjel za nastavničke studije u GospićuGospić, 2021., 520 str
Nikola Bićanić – Ćibe (1934. − 2021.)
No full textHrvatski i lički domoljub, plodan pisac i beskompromisni prava
Mustafa Madžar kao posttraumatska proza
No full textThis paper deals with a somewhat different, and hopefully, more meaningful approach to the analysis of Andrić\u27s famous short story Mustapha Magyar from 1923. That story “from the Turkish times” was justifiably declared one of Andrić\u27s most successful short stories, and is often characterized by the attributes of his most enigmatic or mystical, even darkest text. It is often defined by genre as an expressionist character short story with a tragic anti-hero, with which, according to the majority of interpretations and analyses, Andrić questions the existence of evil in the world and the impossibility of achieving good. In this paper, we start from the assumption that Andrić created the character of Mustapha Magyar as a person who suffers from the psychological consequences of war experiences, i.e. mental disorder known today as PTSD, and we will try to prove this by using short story citations.U ovom radu riječ je o ponešto drugačijem, a nadam se, i smislenijem pristupu analizi znamenite Andrićeve novele Mustafa Madžar iz 1923. godine. Ta novela „iz turskih vremena”, opravdano je proglašavana jednim od Andrićevih najuspjelijih novelističkih tekstova, često je karakterizirana i atributima najzagonetnijeg ili najmističnijeg pa i najmračnijeg njegova teksta. Ponajčešće je žanrovski određivana kao ekspresionistička novela lika, odnosno tragičkog antijunaka, kojom, kako tvrdi pretežiti dio dosadašnjih interpretacija i analiza, Andrić propituje pitanje postojanja zla u svijetu i nemogućnosti ostvarenja dobra. U ovom se pak radu polazi od pretpostavke da je Andrić oblikovao lik Mustafe Mađara kao osobu koja boluje od psihičkih posljedica ratnih iskustava, odnosno psihičkoga poremećaja danas poznatog pod nazivom PTSP te će se to pokušati i dokazati na primjerima iz novele
Posredovanje emocija izraženih neverbalnim znakovima u audiodeskripciji filma Murina
No full textAudio description (AD) is a special form of interlinguistic translation whereby the visual part of an audiovisual message is transposed into corresponding auditive information so as to be accessible to visually impaired individuals. Following the introductory remarks on the availability of media where information is conveyed (i) visually, an overview of basic features of audio description and ways in which it uses an auditory channel to represent emotions transformed into signs of another semiotic system is given. The audiovisual text to be analysed is the live action film Murina [Moray Eel], whose content is the source of linguistic expressions of different emotions. Film sequences containing elements of emotionally intoned communication expressed through non-verbal behaviour, in particular those containing examples of AD, are excerpted. Considering that non-verbal communication can be used to express an array of emotions and that some emotions are connected to certain kinesic behaviours, the film’s verbal expression is linked to the way in which a particular emotion is marked, thereby compensating for the multidimensionality of the original live action film. The analysis of verbal expressions and emotional states and reactions should determine what linguistic means are used to represent emotions of film characters in AD text. In conclusion, represented strategies and techniques used to describe non-verbal behaviour as expressions of individual emotions are listed.Audiodeskripcija je poseban oblik unutarjezičnoga prevođenja kojim se vizualni dio poruke audiovizualnoga sadržaja prenosi u odgovarajuću auditivnu informaciju s ciljem njezine dostupnosti osobama oštećena vida. Nakon uvodnih napomena o dostupnosti medijskih sadržaja kojima se informacija prenosi (i) vizualnim kanalom, donosi se pregled temeljnih obilježja audiodeskripcije i načina na koji se njome auditivnim kanalom posreduju emocije pretvorene u znakove drugoga semiotičkog sustava. Audiovizualni tekst koji je polazište za provedenu analizu je igrani film Murina, čiji je sadržaj izvorom za jezične izraze različitih emocija. U filmu se izdvajaju sekvence koje sadrže elemente emocionalno obojene komunikacije izražene neverbalnim ponašanjem, a među njima one u kojima je zastupljena audiodeskripcija. Polazeći od toga da se neverbalnom komunikacijom može izraziti cijeli niz emocija te da se neke emocije mogu povezati s određenim kinezičkim ponašanjem, njegov se verbalni izraz dovodi u vezu s načinom na koji se određena emocija obilježava te se time kompenzira višemodalnost izvornoga igranog filma. Analizom se verbalnih izraza emocionalnih stanja i reakcija želi utvrditi koja se jezična sredstva u tekstu audiodeskripcije koriste za predočavanje emocija likova u filmu. Zaključno se navode zastupljene strategije i tehnike u opisu neverbalnoga ponašanja kao izraza pojedinih emocija
O perifernome u kroatistici
No full textPeriferno u hrvatskoj književnosti i kulturi / Peryferie w chorwackiej literaturze i kulturze. ur. Krešimir Bagić, Miranda Levanat-Peričić i Leszek Małczak. Wydział Humanistyczny Uniwersytetu Śląskiego, Filozofski fakultet Sveučilišta u Zagrebu, Sveučilište u Zadru. Zagreb – Zadar – Katowice: Wydawnictwo Uniwersytetu Śląskiego, 2021. ISBN: 978-83-226-4023-
Neopikarski elementi u romanu Vjetrogonja Babukić i njegovo doba Miljenka Jergovića
No full textIn the subtitle of the novel Vjetrogonja Babukić i njegovo doba [Babukić the Vagabond and His Time] (Zagreb, 2021), Miljenko Jergović also mentioned its genre feature - a picaresque novel. This paper problematizes the novel’s genre determination presented in the title and establishes that this novel is an example of a neopicaresque novel in Croatian literature. This novel is about the adventures of the vagabond Babukić, which he experiences on his aeroplane trips and at the airports that have become his only home. During the development of the story, the narrator gives the careful reader a series of metatextual signals through which he warns about numerous stories in the story, thematizes the story and time in the novel, and problematizes the issue of genre. The modernist design of the narrative category of time, in which it deviates from the genre of the picaresque novel, is present in the work. At the end of the novel, it is evident that it is the vagabond Babukić\u27s transcendental journey. This neopicaresque novel connects two seemingly contradictory characteristics of the theme in the work. The first theme refers to the need to preserve the integrity of an individual in the novel. The second theme is manifested in a strong tendency towards intellectualistic introspection, featuring the neopicaresque novel.Miljenko Jergović u podnaslovu romana Vjetrogonja Babukić i njegovo doba (Zagreb, 2021.) naveo je i njegovu žanrovsku odliku: pikarski roman. U ovom se radu problematizira žanrovsko određenje romana prisutno u naslovu i utvrđuje se da je roman primjer neopikarskog romana u hrvatskoj književnosti. U romanu se iznose dogodovštine vjetrogonje Babukića koje proživljava na putovanjima avionima i na aerodromima koji su postali njegov jedini dom. Tijekom razvoja priče, pripovjedač pažljivom čitatelju upućuje niz metatekstualnih signala putem kojih upozorava na brojne priče u priči, tematizira priču i vrijeme u romanu te problematizira pitanje žanra. U djelu je prisutno modernističko oblikovanje narativne kategorije vremena u kojem se odstupa od žanra pikarskog romana. Na koncu romana vidljivo je da se radi o transcedentalnom putovanju vjetrogonje Babukića. Ovaj neopikarski roman povezuje dvije naizgled oprečne karakteristike teme u djelu. Prva tema odnosi se na potrebu za očuvanjem individualnog integriteta pojedinca u romanu, a druga se očituje u snažnoj sklonosti prema intelektualističkoj introspekciji koja je odlika neopikarskog romana
Diktat u nastavi ruskoga kao stranoga jezika
No full textThis paper analyzes types of dictation in teaching Russian as a foreign language with reference to Russian as a native language, including terminology in Russian. It clarifies the role of dictation within educational process, as well as its role in mastering writing as a productive language skill which is developed simultaneously with speaking whilst learning a second language, and in the context of writing dictation it is inseparable from the receptive language skill of listening. This paper contains examples taken from academic literature, as well as the author’s examples. Methodological literature notes the series of various dictations, but this paper focuses particularly on ʻtraditionalʼ dictations, among which there are visual, auditory, visual-auditory, and self-dictation. Other varieties include creative, free, electoral, dictation with avoiding mistakes, and dictation sentence. The most common one used whilst teaching Russian is auditory dictation which is conducted in three phases. Firstly, the whole dictation is read as to get the main point of the text. Secondly, each sentence is dictated and at the end the whole text is read once more in order to check what was written. In conclusion, each of the aforementioned varieties of dictation can be used in teaching Russian both as a foreign language and as a native language.U ovome radu analiziraju se vrste diktata u nastavi ruskoga kao stranoga jezika s osvrtom na ruski kao materinji, uz navođenje terminologije na ruskome jeziku. Pojašnjava se sama uloga diktata u nastavnome procesu, kao i uloga u savladavanju pisma kao produktivnе jezičnе vještinе, koja se u učenju stranoga jezika savladava istovremeno s govorom, te je u kontekstu pisanja diktata neodvojiva od receptivne jezične vještine slušanja. Rad sadrži primjere koji su preuzeti iz stručne literature, kao i autorske primjere. Metodička literatura spominje cijeli niz različitih vrsta diktata, a u ovome smo se radu koncentrirali na takozvane tradicionalne diktate, među koje ubrajamo vizualni, slušni, vizualno-slušni i samodiktat. Od ostalih vrsta izdvajamo stvaralački, slobodni, izborni, diktat sa sprječavanjem grešaka i diktat-rečenicu. Najčešće se u nastavi stranoga jezika koristi slušni diktat, koji se provodi u tri faze, prvo se čita cijeli tekst kako bi se dobio uvid u sadržaj, zatim se diktira rečenica po rečenica, a na kraju se cijeli tekst čita još jednom sporije radi provjere napisanoga. Zaključujemo da svaki od njih može, osim u nastavi materinjeg, pronaći svoju primjenu i u nastavi ruskoga kao stranoga jezika