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Carlo Sbisà: D’Annunzio dettala Carta del Quarnaro in the Albori Palace in Rijeka
No full textČlanak se bavi temom zidnog fresko slikarstva promoviranog u službi vladajuće ideologije u razdoblju između dva svjetska rata u Italiji, odnosno Rijeci koja je tada u njezinu sastavu. Za studiju slučaja odabrana je freska D’Annunzio detta la Carta del Quarnaro autora Carla Sbisàa iz Trsta, realizirana 1942. godine u atriju stambeno-poslovne palače Albori (Riječki neboder), uključujući usporedbu sa situacijom na tom planu u Trstu, Firenci i Milanu, kulturnim središtima gdje se umjetnik formirao i djelovao. Carlo Sbisà prije angažmana u Rijeci zaokružio je svoj opus zidnog slikarstva u rodnom gradu (Trstu), što je imalo presudan utjecaj i na koncipiranje navedene freske. Namjera ovog rada jest upozoriti upravo na tu fresku te na činjenicu da ona nije u potpunosti uništena. Rad predstavlja i prilog valorizaciji jedine zidne fresko dekoracije koju je Carlo Sbisà ostvario izvan Trsta, a koja u sadržajnom i likovno-formalnom pogledu nadilazi ideološki okvir vremena u kojem je nastala. Sbisàova freska u Rijeci čini integralni dio građevine unutar koje je izvedena, te je ilustrativni primjer reafirmacije fresko slikarstva u međuratnom razdoblju u Italiji, što je imalo odraza i u lokalnom kontekstu.The paper examines the fresco painting promoted by the ruling ideology between the two world wars in Italy, specifically Rijeka, which was part of Italian territory at the time. The case study focuses on the fresco D’Annunzio detta la Carta del Quarnaro, painted in 1942 by Carlo Sbisà from Trieste, located in the atrium of the residential and commercial Albori Palace (“Rijeka’s Skyscraper”). The fresco is compared with relevant examples from Trieste, Florence, and Milan, cultural centres where the artist matured and worked. Before his engagement in Rijeka, Sbisà completed his wall-painting oeuvre in his hometown of Trieste, which significantly influenced the conception of this fresco. This paper highlights the fact that it has not been completely destroyed, contributing to the evaluation of the only fresco decoration Sbisà created outside of Trieste, which, in terms of both content and artistic-formal aspect, transcends the ideological framework of the time in which it was created. The Rijeka fresco forms an integral part of the building in which it is located and serves as an illustrative example of the revival of fresco painting in Italy during the interwar period, which also left its mark on the local context
“Support, Respite, Consolation”. On the Exhibition of Photographs by Mare Milin in the Rector’s Palace in Zadar, Art Gallery of the National Museum in Zadar
No full textU izložbi Godišnji odmor u Kneževoj palači u Zadru (2. svibnja – 14. lipnja 2024.) Mare Milin vodi nas kroz šest poglavlja osobnih krajolika, prikladno nazvanih po akronimu njezina prezimena: marstrand, izautobusne, ludusi, intermezza, nokturna. Svaka serija fotografija poziva na introspekciju i bijeg od svakodnevnog kaosa, nudeći osjećaj mira i kontemplacije. Kvadratni formati, višestruke ekspozicije i igra svjetla stvaraju apstrahirane intimne pejzaže koji, uz harmoničnu glazbenu podlogu, okupljaju slike, zvukove i emocije u jedinstveno iskustvo. Ljudski lik, ako se i pojavi, ostaje prisutan tek kao osnovni obris, silueta u kadru, stapajući se s prirodom koja ga okružuje. Fotografija Mare Milin lišena je izravnog aktivizma, ali nosi suptilni socijalni moment – terapeutsku kvalitetu koja nas na trenutak odvaja od bučne, umarajuće stvarnosti i donosi tračak mira u turbulentnom vremenu.In her exhibition Vacation, held at the Rector’s Palace in Zadar (2 May – 14 June 2024), Mare Milin takes us on a journey through six chapters of personal landscapes, symbolically titled after the acronym of her surname: marstrand, izautobusne, ludusi, intermezza, nokturna. Each photographic series invites introspection and an escape from the chaos of daily life, offering moments of peace and contemplation. Through square formats, multiple exposures, and the interplay of light, Milin creates abstract, intimate landscapes that, accompanied by a harmonious musical background, blend images, sounds, and emotions into a singular experience. The human figure, when it appears, is reduced to a basic outline, a silhouette in the frame, merging with the surrounding nature. While devoid of overt activism, Milin’s photography conveys a subtle social dimension – a therapeutic quality that momentarily detaches viewers from the noisy, exhausting reality, offering a serene respite during these turbulent times
The History of Children’s Literature as Viewed by Socialist Researchers in Croatia Until 1965
No full textI danas su rijetki istraživački radovi koji se bave socijalističkom dječjom književnošću pisanom u razdoblju socijalističke Jugoslavije. Stječe se dojam da takve dječje književnosti nije niti bilo. Kao da se u razdoblju socijalističke Jugoslavije ili nije pisala dječja književnost ili ako se pisala, ona nije imala nikakve veze sa socijalističkim ambijentom u kojemu je nastajala. Kao da je postojala jedna socijalistička stvarnost, a mimo nje i posve neovisno o njoj je nastajala dječja književnost. Takva slika hrvatske dječje književnosti pisane u razdoblju socijalizma koju nam nude istraživači dječje književnosti prisutna je i za vrijeme socijalističke Jugoslavije, ali i za vrijeme demokratske Hrvatske. Ipak, u jednom razdoblju komunističke Jugoslavije pisalo se o socijalističkoj dječjoj književnosti. Bilo je to u relativno kratkome vremenskom razdoblju koje je nastupilo kada je već prošlo dovoljno vremena od Drugoga svjetskog rata i revolucionarne promjene koja je zahvatila sve dijelove i aspekte društva, pa onda i dječju književnost, te kada je nastao već dovoljan broj književnih djela za djecu i praksi da bi se otvorila potreba za sagledavanjem učinjenog i projekcijom daljnjeg puta. Dva su autora koja su obilježila to razdoblje teorijskog bavljenja dječjom književnošću: Grigor Vitez i Danko Oblak. Grigor Vitez objavljivao je teorijske tekstove koji su se uglavnom bavili bajkom i dječjom poezijom, a nešto je radova ostavio i u rukopisu. Taj teorijski napor bio mu je potreban prije svega iz pragmatičnih razloga kako bi lakše nalazio smjer u svojoj uredničkoj politici koja je ujedno bila na neki način i ona koja je ukupno određivala smjer kretanja hrvatske dječje književnosti. Danka Oblaka, pak, zanimala je povezanost dječje književnosti sa socijalističkim trenutkom u kojemu se oblikovala. Da bi pak mogao što bolje odrediti karakteristike suvremenog trenutka dječje književnosti morao se okrenuti prošlosti, vidjeti razvoj, karakteristike pojedinih prethodnih razdoblja dječje književnosti i uvjete prelaska iz jednog razdoblja u drugo. Drugim riječima Danko Oblak oblikovao je skicu socijalističke jugoslavenske dječje književnosti kojom se bavi ovaj rad.Even today, research papers dealing with socialist children’s literature written in socialist Yugoslavia are rare. One gets the impression that such literature for children never existed. It is as if children’s literature was either not written in the period of socialist Yugoslavia, or if it was, it had nothing to do with the socialist environment in which it was created. As if children’s literature was being created beyond the existing socialist reality and entirely independently of it. Such a perception of Croatian children’s literature from the period of socialism, presented to us by researchers of children’s literature, has persisted in socialist Yugoslavia as well as in democratic Croatia. However, there was one period in communist Yugoslavia when the topic of socialist children’s literature was addressed in various publications. This happened during a relatively short interval after enough time had passed since the Second World War and the revolutionary change that affected all parts and aspects of society, including children’s literature, and when a sufficient number of literary works for children and practices already existed. There are two authors who marked that period of children’s literature studies: Grigor Vitez and Danko Oblak. Grigor Vitez published theoretical texts that focused mainly on fairy tales and children’s poetry, whereas some of his works were left behind in manuscript form. This theoretical effort was primarily pragmatically motivated, making it easier for him to create editorial policies, which have also influenced the general direction of Croatian children’s literature. Danko Oblak, on the other hand, was interested in the connection of children’s literature with the socialist era in which it took shape. In order to better determine the characteristics of contemporary children’s literature, he had to turn to the past, explore the development, features of certain previous periods of children’s literature, and the circumstances in which one period transitioned to another. In other words, Danko Oblak created an outline of socialist Yugoslav children’s literature, which is the subject of this paper
Primjena učinkovitog vodstva i upravljanja u svrhu povećanja zadovoljstva u nastavničkom zanimanju
No full textThe present study aimed to examine the relationship between effective leadership and management and the job satisfaction of teaching staff working in various degree colleges in Kanpur, Uttar Pradesh, India. A structured questionnaire was used, comprising three parts: demographic details, the Effective Leadership and Management Scale (ELMS), and the Job Satisfaction Scale (JSS). The study employed a quantitative, cross-sectional design, with data collected from 180 teacher educators across six degree colleges using an anonymous, closed-ended survey. The Statistical Package for the Social Sciences (SPSS) was used to conduct data analysis. The results indicated that the average score for effective leadership and management was 2.9 ± 0.8, reflecting a moderate to high level of perceived leadership effectiveness. Similarly, the mean score for job satisfaction was 3.1 ± 0.9, suggesting very good satisfaction levels among the participants. A statistically significant positive correlation was found between effective leadership and management practices and overall job satisfaction. Specifically, higher scores in the dimensions of individuality, performance, and direction were strongly associated with greater satisfaction among teaching staff. The findings underscore the importance of empowering educators, promoting their well-being, and enhancing job satisfaction through the implementation of effective leadership and management practices. These should be considered a priority and strategic goal for educational administrators aiming to improve institutional performance and teaching quality.Cilj ove studije bio je ispitati suodnos učinkovitog vodstva i upravljanja te zadovoljstva poslom među nastavnicima na različitim fakultetskim smjerovima u Kanpuru, Uttar Pradesh, Indija. Upotrijebljen je strukturirani upitnik koji se sastoji od tri dijela: demografskih podataka, Ljestvice učinkovitog vodstva i upravljanja (ELMS) i Ljestvice zadovoljstva poslom (JSS). U studiji je primijenjen kvantitativni, međusektorski pristup, a podaci su među 180 obrazovatelja nastavnog osoblja na šest fakultetskih smjerova prikupljeni s pomoću anonimne ankete zatvorenog tipa. Za analizu podataka korišten je Statistički paket za društvene znanosti (SPSS). Rezultati su pokazali da je prosječna ocjena za učinkovito vodstvo i upravljanje bila 2,9 ± 0,8, što odražava umjerenu do visoku razinu percipirane učinkovitosti vodstva. Na istom je tragu i prosječna ocjena zadovoljstva poslom 3,1 ± 0,9, što upućuje na visoku razinu zadovoljstva među sudionicima. Utvrđena je statistički značajna pozitivna korelacija između učinkovitih praksi vodstva i upravljanja i ukupnog zadovoljstva poslom. Točnije, bolji rezultati na području individualnosti, učinka i usmjeravanja čvrsto su povezani s većim zadovoljstvom među nastavnim osobljem. Rezultati studije naglašavaju da je provođenjem učinkovitih praksi u vodstvu i upravljanju važno osnažiti obrazovatelje, promicati njihovu dobrobit i povećati njihovo zadovoljstvo poslom. To bi trebao biti prioritetni i strateški cilj upravama obrazovnih ustanova koje teže poboljšanju institucionalne učinkovitosti i kvalitete nastave
Antun Baće, Architecture of Dubrovnik Between the Two World Wars
No full textKnjiga Arhitektura Dubrovnika između dva svjetska rata, autora Antuna Baće, vrijedan je doprinos istraživanju urbanističke i arhitektonske povijesti grada što potvrđuje i prestižna nagrada Društva povjesničara umjetnosti 2023. godine. Naime, knjiga je značajna zbog toga što usmjerava pažnju akademske zajednice, ali i šire publike, na razdoblje u arhitektonskoj povijesti Dubrovnika koje je uvelike zanemareno. Dubrovnik je, razumljivo, najčešće percipiran kroz prizmu svoje srednjovjekovne i novovjekovne baštine, dok arhitektonska ostvarenja nastala između dvadesetih i četrdesetih godina prošlog stoljeća rijetko zauzimaju mjesto u kolektivnoj svijesti. Iako se to ne mora nužno promijeniti, autorova analiza i valorizacija ovog arhitektonskog nasljeđa zaslužuju posebno priznanje. Njegovim istraživanjem Dubrovnik dobiva još jednu dimenziju svoje bogate povijesti, a njegova arhitektonska panorama postaje slojevitija, raznovrsnija i kompleksnija.The book Arhitektura Dubrovnika između dva svjetska rata (Architecture of Dubrovnik Between the Two World Wars), by Antun Baće, is a valuable contribution to the research of the urban and architectural history of the city, as confirmed by the prestigious award by the Society of Art Historians in 2023. Namely, the book’s significance lies in directing the attention of the academic community, as well as the wider audience, to the largely neglected period in the architectural history of Dubrovnik. Understandably so, Dubrovnik is generally perceived through the prism of its medieval and modern heritage, whereas the architectural achievements from the 1920s and 1940s rarely occupy a place in the collective consciousness. Although that does not necessarily have to change, the author’s analysis and valorization of this architectural heritage deserve special recognition. His research adds to Dubrovnik another dimension of its rich history, rendering its architectural panorama more layered, diverse and complex
The (Meta)reflexive Lyrical Subject and Body: Stylistic Conceptualization of the Poetry Book Still, Dawn by Tomislav Augustinčić
No full textRad se bavi prvom pjesničkom knjigom Ipak, zora Tomislava Augustinčića, suvremenog hrvatskog znanstvenika, pjesnika i književnog kritičara. U središtu analize i interpretacije je (meta)refleksivni lirski subjekt i tijelo kao središnji tematski aspekt knjige. U prvom dijelu rada otvara se pitanje pjesničke knjige kao konceptualne cjeline, njezinih mogućih žanrovskih odrednica, te se odabire žanrovski modus – „duge pjesme” ili poeme – kroz koji se analizira i interpretira. U drugom dijelu rada obrađuje se problematika lirskog subjekta i/kao tijela, s naglaskom na prostoru i vremenu, intimističkom i ljubavno-erotskom tematskom krugu te metadiskurzivnim relacijama. Sukladno tematu časopisa u kojem se objavljuje, rad je metodološki zasnovan na suvremenoj stilističkoj rekonceptualizaciji poezije i poetskog stila glede kategorija lirskog subjekta, pjesničke refleksivnosti i slikovitosti te metadiskurzivnih pjesničkih relacija (Tin Lemac). Rad ukazuje na polidiskurzivnost kao poetičko-stilski konstituens tematizirane poetske knjige.This paper examines the first poetry book by Tomislav Augustinčić, a contemporary Croatian theoretician, poet, and literary critic, entitled Ipak, zora (Still, Dawn). Analysis and interpretation are focused on the (meta)reflexive lyrical subject and body as the central thematic aspect of the book. The first part of the paper opens a question of this poetry book as a conceptual whole as well as its possible genre classifications, and chooses the genre mode – “long poem” or narrative poem – through which it is analysed and interpreted. In the second part of the paper, the focus in on the issue of the lyrical subject and/as a body, with an emphasis on time and space, intimistic and erotic (love) thematic scope, and metadiscursive relationships. In accordance with the theme of the journal in which it is published, the work is methodologically based on the contemporary stylistic reconceptualization of poetry and poetic style regarding the category of lyrical subject, poetic reflexivity, and imagery, as well as the metadiscursive poetic relations (Tin Lemac). The paper presents polydiscursiveness as a poetic and stylisticians constituent of this poetry book
Война в зеркале новейшей русскоязычной драмы: трансформация текста
No full textThe article is devoted to the current Russian-Ukraine war reflected from several perspectives. The aim of this study is to examine the changes that have taken place in the themes, genres, and presentation of modern Russian-language drama since the start of the full-scale invasion of Ukraine by the Russian Federation. The first issue discussed by the author is the response of drama communities and festivals dedicated to Russian-language plays in Russia, Ukraine, and Belarus to the start of the war. The second question which is investigated here is if emigration and repression have an impact on contemporary drama. The article will prove that the phenomena of emigration and the threat of repression significantly shape the narrative landscape of contemporary plays. The lack of freedom of expression leads to rich, diverse dramatic forms that challenge identity, humanism, and rationalism in the face of danger, and here we can note the emergence of such genre as drama and comedy of the absurd or exploration of forms of the Russian fairy tale in documentary, which have rarely been seen in drama before. Authors from the emigrant circle, who do not experience such tensions, often use personal narratives and documentary forms to convey the realities of homelessness. The third part analyses the play by Esther Bol Crime/#AlwaysArmUkraine, where the author innovatively applies the principles of German epic theater. The analysis based on the materials of plays awarded at annual festivals of Russian-language plays such as Lubimovka, Remarka [Remarque], Pervaya Chitka [The First Reading], Stories, and others. A comprehensive research method is employed, incorporating both analytical tools derived from classical, modernist, and postmodern drama theories, as well as techniques of cultural and sociological analysis.Статья исследует вопрос отражения текущей войны меж- ду Россией и Украиной в русскоязычной драматургии, со- зданной в 2022–23 гг. Цель исследования: проанализиро- вать изменения, произошедшие в темах, драматургических жанрах, способах презентации современной русскоязыч- ной драматургии с началом полномасштабного вторжения Российской Федерации на Украину. Вопрос исследуется в нескольких аспектах. Во-первых, автор рассматривает ре- акцию драматургических сообществ и фестивалей русскоя- зычной драматургии России, Украины и Белоруссии на на- чало войны. Во-вторых, анализируется влияние эмиграции или проживания в тоталитарном государстве на темы и спо- собы драматического письма. В статье показывается, что нахождение автора в эмиграции или под угрозой репрессий в значительной степени формируют жанровый ландшафт современных пьес. Отсутствие свободы самовыражения приводит к богатым, разнообразным драматическим фор- мам, которые бросают вызов идентичности, гуманизму и рационализму перед лицом опасности, здесь можно отме- тить появление таких жанров, как драма и комедия абсур- да, антиутопия или использование форм русской сказки для документальной пьесы, которые ранее редко встречались в новейшей драматургии. Авторы эмигрантского круга, ко- торые не испытывают давления цензуры, часто используют личные повествования и документальные формы, чтобы передать окружающую их реальность. Здесь преоблада- ют элементы документальности и прямого высказывания, однако формы и жанры драматургии тяготеют к традици- онным. В третьей части анализируется пьеса Эстер Бол Crime/#AlwaysArmUkraine, где автор новаторски использу- ет принципы немецкого эпического театра. Анализ прове- ден на материалах пьес-победителей ежегодных конкурсов русскоязычной драматургии «Любимовка», «Ремарка», «Первая читка», «Сторис» и др. Применяется комплексный метод исследования, включающий как аналитические ин- струменты, выработанные в пространствах классической, модернистской и постмодернистской теории драмы, так и методы культурологического и социологического анализа
Idioms – Lost in Translation (A Translation Analysis of the Novel Mission London by Alek Popov)
No full textU prevoditeljskoj praksi, posebice u književnome prevođenju, jedan od zahtjevnijih zadataka jest prevođenje frazema. U potrazi za odgovarajućim prijevodnim ekvivalentom, prevoditelj poseže za različitim tipovima međujezične ekvivalencije. U radu se daje pregled postojećih tipologija na frazeološkoj razini i predlaže razlikovanje potpune, djelomične, semantičke i nulte ekvivalencije. Središnji dio rada donosi analizu prijevoda frazema u hrvatskome izdanju bugarskoga romana Misija London Aleka Popova. Analizom je obuhvaćeno ukupno 90 primjera u kojima se frazemi javljaju u izvorniku i/ili u prijevodu, pri čemu se uvodi razlika između frazeološkoga i nefrazeološkoga prijevoda kako bi se utvrdilo koliko je frazema u prijevodu izgubljeno, odnosno u kojoj je mjeri došlo do neutralizacije prijevoda. Frazeološkim prijevodnim postupcima prevedeno je ukupno 68 frazema (prijevod potpunim ekvivalentom, prijevod djelomičnim ekvivalentom, doslovni prijevod, prijevod semantičkim ekvivalentom i kompenzacija). Nefrazeološkim su postupkom prevedena 22 frazema, i to parafraziranjem, pri čemu je 9 frazema prevedeno nemarkiranim izrazima, odnosno 9 je frazema u prijevodu izgubljeno. S obzirom na to da su oni donekle nadoknađeni kompenzacijom (4 frazema), prevoditeljica je uspjela ostvariti jednak efekt u prijevodnome tekstu. Na temelju izložene translatološke analize, u radu se iznose prevodilački postupci, s osvrtom na njihove prednosti i mane te učinak na sam prijevod. Zaključno, rad naglašava važnost prevoditeljske kompetencije i frazeološkoga znanja, uz potrebu za kvalitetnijom leksikografskom obradom frazema kako bi se olakšao rad prevoditelja i osigurala veća prirodnost prijevoda.In translation practice, especially in literary translation, one of the most challenging tasks is the translation of idiomatic expressions. In the search for an appropriate translation equivalent, the translator employs different types of interlingual equivalence. This paper provides an overview of existing typologies and proposes a distinction between complete, partial, semantic, and zero equivalence. The central part of the paper presents an analysis of the translation of idioms in the Croatian edition of the Bulgarian novel Mission London by Alek Popov. The analysis covers a total of 90 examples in which idioms appear in the original text and/ or in translation. A distinction is introduced between phraseological and non-phraseological translation to determine how many idioms were lost in translation or to what extent the translation was neutralized. A total of 68 idioms were translated using phraseological translation techniques (complete equivalence, partial equivalence, literal translation, and semantic equivalence). Non-phraseological techniques were used for 23 idioms, primarily through paraphrasing, with nine idioms translated using unmarked expressions, meaning that nine idioms were lost in translation. However, since some of them were compensated for (four idioms), the translator managed to achieve a similar effect in the translated text. Based on the presented translation analysis, the paper proposes a classification of translation methods, discussing their advantages, disadvantages, and impact on the final translation. In conclusion, the paper emphasizes the importance of translation competence and phraseological knowledge, as well as the need for better lexicographical treatment of idioms to facilitate the translator’s work and ensure greater naturalness in translation
An Early Iron grave at the Nakovana – Zmijna cemetery (Pelješac peninsula)
No full textPrapovijesno gradinsko naselje Grad u Nakovani jedno je od najistaknutijih naselja iz brončanog i željeznog doba na južnom dijelu istočnojadranske obale. O njegovoj važnosti kao i kompleksnom kulturnom krajoliku u kojem se nalazi, osim do sada pronađene materijalne ostavštine, svjedoče i brojne kamene gomile koje se nalaze u okolici Grada, posebno na brdu Zmijnoj. S obzirom na pretpostavljenu kontinuiranu naseljenost Grada sve do kraja željeznog doba, očekivalo se i postojanje ravnih grobova, što su istraživanja provedena 2020. godine i potvrdila. Na južnim padinama brda Zmijne otkrivena su dva groba na ravnom smještena u blizini mlađih kamenih gomila. Grob smješten pri vrhu brda, na osnovi pronađenih nalaza, datiran je u starije željezno doba. Ostatci više pokojnika bili su položeni u prirodnu udubinu i pokriveni većim kamenim blokovima. U grobu su, osim keramičkih ulomaka, pronađeni predmeti nakita i nošnje koji upućuju na kulturne kontakte sa zaleđem te prostorom zapadnog Balkana na kojem je starije željezno doba obilježeno razvojem glasinačke kulture.The prehistoric hillfort settlement of Grad in Nakovana is one of the most prominent Bronze and Iron Age settlements on the southern part of the eastern Adriatic coast. Its importance and the complex wider cultural landscape are reflected not only in the material legacy found so far, but also in the numerous stone mounds around Grad, especially on the hill of Zmijna. Since it was presumed that Grad was continuously inhabited until the end of the Iron Age, it was expected to find flat graves, which were in fact discovered during the excavations of 2020. On the southern slopes of Zmijna hill, two flat graves were discovered near younger stone mounds. The grave located near the top of the hill was dated to the Early Iron Age based on the finds. The remains of several individuals were laid in a natural depression and covered with large stone blocks. The grave contained potsherds, but also jewellery and costume items indicating cultural contacts with the hinterland and the area of the western Balkans, where the Early Iron Age was characterized by the development of the Glasinac culture