Digitalni arhiv Filozofskog fakulteta u Zagrebu
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Social position of a gifted student in the class
No full textDaroviti su pojedinci oni koji imaju jednu ili više sposobnosti značajno natprosječno razvijene. Darovitost kao osobina utječe na sve aspekte života darovitih osoba, između ostaloga i na njihov sociometrijski status. Budući da socijalni položaj značajno utječe na socioemocionalni razvoj pojedinca, koji je preduvjet za ostvarivanje punog potencijala darovitih učenika, u diplomskom radu istražuje se kakav je sociometrijski status darovitog učenika u razrednom odjelu. U literaturi postoje dva različita stajališta o utjecaju darovitosti na sociometrijski status učenika. S jedne su strane znanstvenici koji tvrde da darovitost doprinosi pozitivnom sociometrijskom statusu učenika, dok su s druge strane znanstvenici koji tvrde da darovitost uzrokuje negativan sociometrijski status učenika. Utvrđivanje sociometrijskog statusa učenika nužno je za pedagoško djelovanje kako bi se taj status poboljšao, ukoliko za to postoji potreba. Istraživanjem su pronađena i identificirana, pomoću anketnog upitnika, dva darovita učenika. Rezultati istraživanja sociometrijskog statusa učenika u razredu, utvrđeni anketnim sociometrijskim upitnikom, pokazuju da prema sociometrijskom statusu jedan od učenika pripada prosječnoj sociometrijskoj kategoriji, a drugi pripada sociometrijskoj kategoriji „zvijezda razreda“. Prema rezultatima istraživanja, učenik koji pripada prosječnoj sociometrijskoj kategoriji razvio je dva odnosa prijateljstva s drugim učenicima iz svoga razreda, dok učenik koji pripada sociometrijskoj kategoriji „zvijezda razreda“ nije razvio niti jedno prijateljstvo s učenicima iz svoga razreda. Daroviti učenici međusobno su u odnosu ignoriranja.Gifted individuals are those who have one or more abilities that are significantly overdeveloped. Giftedness as a feature influences all aspects of the life of gifted persons, including their sociometric status. Since the social position significantly influences the social-emotional development of the individual, which is a prerequisite for the realization of the full potential of gifted students, a graduate thesis examines the sociometric status of a gifted student in a class. In the literature there are two different views on the influence of giftedness on the sociometric status of students. On the one hand, scientists claim that giftedness contributes to the positive sociometric status of students, while on the other hand, scientists claim that giftedness causes the student's negative sociometric status. Determining the sociometric status of a student is necessary for pedagogical action in order to improve this status, if there is a need for it. Two gifted students were identified by the survey questionnaire. The results of the sociometric survey of the students in the class, determined by the sociometric questionnaire, show that one of the students belongs to the sociometric category of average students, according to the sociometric status, and the second belongs to the sociometric category of "class stars". According to research results, a student belonging to the average sociometric category has developed two relationships of friendship with other students of his class, while a student belonging to the "class star" sociometric category has not developed any friendship with his classmates. Two gifted students are in the relationship of ignorance each other
The role and the significance of the traditional theatre in Ottoman Empire
No full textU ovom diplomskom radu proučava se uloga i značaj tradicionalnog kazališta u Osmanskom Carstvu. U uvodnom dijelu rada pruža se kratka analiza razvoja dramske umjetnosti u Osmanskom Carstvu na primjeru tri najistaknutije tradicionalne scenske vrste, a to su praksa medaha, karađoz te orta oyunu. Nakon toga slijedi glavni dio u kojem se predstavlja teorijski okvir za proučavanje dramske umjetnosti iz sociološkog aspekta. Izdvojene su tri glavne društvene uloge tradicionalnog osmanskog kazališta, a to su: zabavljačka, edukativna i kritička uloga. Cilj ovog rada je naglasiti društvenu ulogu tradicionalnog kazališta koje je u Osmanskom Carstvu svojevremeno služilo kao glavni medij za prenošenje vijesti, kulture razonode, no i društveno usmjerene kritike.The subject of this master's thesis is the analysis of the role and significance of the traditional theatre in Ottoman Empire. In the introductory part of the paper, there is a brief analysis of the development of dramatic arts in the Ottoman Empire, on the examples of the three most prominent traditional theatrical genres: meddah, karagöz and orta oyunu. Then follows the main part of the paper, in which the theoretical frame for the study of theatrical art form from a sociological point of view is set. Three major social roles of the traditional Ottoman theatre are highlighted: the role of popular entertainment, didactic means and the means of social criticism. The aim of this paper is to emphasize the social role of the traditional theater which was used in the Ottoman Empire as one of the main media for the conveyance of news, culture, entertainment and socially oriented criticism
Satan Panonski's body of resistance – auto-destructive body art in Croatian performing arts and practices
No full textOvim istraživanjem po prvi se put daju pregled, analiza i klasifikacija stvaralaštva
multimedijalnog punk umjetnika Ivice Čuljka / Satana Panonskog. Žanrovsku raznolikost ovog opusa
prate rubni i kontroverzan umjetnički status te izniman utjecaj životnih okolnosti na kreaciju
umjetničkih radova, stoga se glavnoj temi pristupa interdisciplinarno i dvojako: u prvom se dijelu
disertacije cjelokupno stvaralaštvo razvrstava na književno stvaralaštvo, izvedbene vrste
autodestruktivni body art, glazbeni performans i antimodni performans, te ostale vrste i žanrove
(likovne radove i mail art, audio-dokudramu), a interpretacija se usmjerava na pronalaženje obilježja
poetike otpora temeljene na estetici šoka te karakteristične umjetničke postupke kojima je moguće
dokazati Čuljkov osviješten pristup stvaralaštvu. U drugom dijelu istraživački pristup polazi od
definiranja stvaralaštva Ivice Čuljka kao umjetnosti osobne traume i komunikacije vlastite istine, te
sagledavanja njegove umjetničke pozicije kroz poziciju društveno stigmatizirane osobe. Nakon
uspostave terminologije primijenjenog performansa, Čuljkovo se umjetničko djelovanje analizira kroz
pripadnost u pet društveno marginaliziranih skupina: duševno neprilagođeni umjetnici, osuđenički
status, queer status, pripadnost supkulturnom pokretu i stigma ratnika. Završna istraživanja bave se
pitanjem mitologizacije ovog umjetnika, Satanom Panonskim kao inspiracijom drugim umjetnicima, te
se daje povijesni pregled izvedbi autodestruktivnog body arta u hrvatskoj umjetnosti performansa.This research gives, for the first time, an overview, analysis and classification of the genre–
diverse work of the multimedia punk artist Ivica Čuljak / Satan Panonski. The emphasis is placed on his
performance of self-destructive body art as the most recognizable part of artistic creation, and on the
interpretation of literary works that have proved to be the thematic and theoretical basis of the work of
Ivica Čuljak. Genre diversity is followed by an another and equally important feature of the
inseparability of life events and the marginal social status from the poetics of artistic works. Therefore,
the creative work of Ivica Čuljak cannot be observed without gaining insight into his private life marked
by mental illness and hospitalization in a neuropsychiatric facility, by his status of a convict and a queer
person or by belonging to the punk subculture. Therefore, the main topic here is approached in two
ways: next to analysing and interpreting his artistic and creative work on genre and aesthetic levels,
based on traditional methods and criteria, the issue of life events influencing artistic expression is
approached by using contemporary research practices in performing arts. One of these starting points is
the idea of performativity as a form of creating subject and its identity. In the case of Ivica Čuljak's art,
based on personal testimonies and versatile identities, it has proved to be necessary in order to separate
this analysis from the inability to determine the factual state of some of the life events that have become
themes of his creative work. The field of this research has been expanded to the theoretical interest in
performative practices as well, arising from the need for social engagement, opening up to marginalized
groups, whose aesthetic criteria have not been indicated as the primary artistic goal. In this part, the
theoretical background consists of the theory of applied theatre and accompanying cultural theory
disciplines and theories focused on studying different identities (e. g. crip and queer theories).
The main goal of this dissertation is to describe and theoretically elucidate the creative opus of
Ivica Čuljak by using research approaches whose interdisciplinary character enables the
comprehensiveness of this, in many ways specific, artistic personality. In this regard, one of the aims of
this thesis is to show how to analyse marginal artistic phenomena by using multidisciplinary and interdisciplinary approaches. The research further seeks to confirm Čuljak’s status of the originator of
self-destructive body art within the Croatian art of performance, from which point on it is possible to
follow the development of this performative genre in Croatia. With the desire to create usable
terminology for performances with activist features, another aim of this thesis is to offer a corpus of
concepts that are part of the scope of the term applied performance. The paper also provides a draft of
the first chronological overview of the creation of art works in the field of self-destructive body art in
Croatia, perceived in the global context of this practice.
Based on the assumptions of the dual approach, the thesis is divided into two main sections that
contain multiple topics subdivided into chapters. In the first part, the entire creative work is sorted into
literature (poetry and prose), types of performing art (self-destructive body art, music and music
performance, anti-fashion performance), and other types and genres (artwork and mail art, audiodocudrama). The interpretation focuses on finding the features of the poetic of resistance, based on the
aesthetic of shock, and on artistic characteristics that can prove Čuljak's conscious approach to creative
work. In the second part, the research approach begins by defining the creative work of Ivica Čuljak as
an art of personal trauma and communication of one’s own truth. It places the artist in the position of a
socially stigmatized person, examining his artistic activity through belonging to five socially
marginalized groups: mentally ill artists and creative work inside a health institution, status of a convict,
belonging to a subcultural movement, the queer status, and creation during war. Final studies deal with
several themes: the mythologisation of the artist, which proves to be an extremely influential factor in
the interpretation and perception of his life and work, Ivica Čuljak as an inspiration to other artists, and
a review of self-destructive body art performances in Croatian performance art based on the previously
established definition of self-destructive body art.
The presentation of literary work is divided into the analysis of poetry and prose writings. Along
with the interpretation, which includes detection and exemplification of main themes and motifs, and
stylistic and poetic features, based on the language of resistance and the aesthetic of shock, Čuljak’s
poetry is also approached through the distinction of poetry in the narrow sense and the rock/punk poetry.
Ivica Čuljak’s poetry is called performative poetry and is here interpreted as the starting point towards
the performing part of his creative work. In addition, it clarifies the necessity of the narrative transfer
from poetry to performance. Particular attention is given to the performativity of versatile identities,
which functions as the author's way of coping with his own trauma, and the key element in the
interpretation is the phrase the body of resistance. There is also the question of the presence of a ‘Šokac’
mentality and a possible comparison with a ‘bećarac’, as well as war poetry, which is due to its
distinctiveness distinguished from the rest of the poetry corpus. In the analysis of prose works, a
classification has been established, diving the works into stories and prose poems, autobiographical
writings, manifestos, essays and programmatic texts, sententiae, letters and requests. The interpretation
of stories shows that this prose is characterized by a pronounced deconstruction of form and language,
as well as the associative and alogic writing, which draws Čuljak closer to Dadaist and Surrealist
practices. Other prose writings are approached to as sources for the visualization of formed artistic
poetics, where the establishment of permanent terms has been detected.
The introductory analysis of self-destructive body art has established conceptual definitions and
an interpretation of this type of performing as a more narrow segment of body art performance,
dominated by a premeditated self-destructive act of an artist over his own body, in a performance
marked by the moment of disintegration of the artist's body, aggression directed towards oneself with
the aim of destruction, as well as actions that lead the artist to immediate danger of injury. Along with
an overview of the history of self-destructive body art in a global context, this part of the thesis
examines the relationship between radical artistic practices of the West and the East, whose lesser or
greater recognisability and presentation have depended on the social context, that is,the ideology of the
visible. The body, as an instrument of artistic expression, is observed through conceptual definitions and
themes of the body of resistance, the performative body, the body itself, the ritual and the para-ritual
body, the dualism of spirit and body, the socio-cultural perception and the concepts of physicalness, the
performance of pain and the comparison of bodily performance with the tendencies and treatments of
the body in the postdramatic theatre. The portrayal of Satan Panonski's self-destructive body art begins
by defining his performances as centripetal lesionism, expressive body art, para-ritual, the performance of transgression and the performance of the identity of the Other, and by placing it in the global
historical context of body art. The analysis of performative practice distinguishes and describes its main
features: forms of types of performances, performance structure and dramaturgy, authenticity of the
statement, the para-ritual character and the controlled trans, artist’s control and playing with the
expectations of the audience, the performance of identities of the Other and the Otherness, theatricality
and deflection from the punk subculture as the area of realization of Čuljak's performances. The
presentation delivers a theatrological reconstruction of several performances by Satan Panonski based
on available video recordings, and it addresses the question of Ivica Čuljak's awareness of his own body
art.
In analysing the genre of musical performance, the introduction delineates the concepts of avant-garde
and alternative music, and it establishes the difference between a performative gesture within a musical
performance and a musical performance (performative act) as a whole performance or a complete
integral part within a performance. With a short overview of the Croatian alternative music scene of that
period, punk music has been observed by using Jacques Attali's idea of breaking the structured sound as
a reflection of an imposed culturalisation process, and a sign of a shift towards a strong bodily
expression that leads to a performative gesture or act. Ivica Čuljak is compared to musicians Iggy Pop
and GG Allin, whose concert performances contain elements of self-destruction as well.
The portrayal of the anti-fashion performance is based on the theoretical definition of the term
anti-fashion. Along with specifying the general characteristics of punk fashion, the tendencies of this
style are stated as well, and as follows: the removal of sex/gender characteristics, putting emphasis on
extreme sexuality through sadomasochistic iconography and the tendency of self-irony. The anti-fashion
performance of Satan Panonski is here understood as an expression of autonomy versus fashion
heteronomy and mental uniformisation of society. The dissertation analyses Čuljak’s individualisation
of the punk style through a creative upgrade by using materials and motifs from a local context. The
shift of punk clothes’ function into the one of a costume and the anti-fashion statement of Satan
Panonski are compared to a linguistic system as well, and are interpreted as a language that includes
taboo expressions and is the clothing equivalent to vulgar and banned words. At the end of the
presentation of this theme, Čuljak's anti-fashion expression is reconstructed based on available photos
and video recordings.
An overview of other aspects of Čuljak’s creative work includes a shorter presentation of his
artwork, which detects recognizable themes and motifs of the artist. With a brief review of the general
features of fanzines, this part states the data on Čuljak’s fanzine and mail art, which are understood as
means of author’s identification and identification with those like-minded, of articulation of one’s own
identity and as a method of developing and spreading one’s audience. Based on preserved audio
recordings, Čuljak’s creation of anti-radio show, labeled as self-ironic audio-docudrama, is presented
as well.
In the interpretative shift in the second part of the thesis, an analysis is approached to from the
theoretical position of applied theatre, engaged performance and performative testimony of trauma,
while Čuljak’s art is defined as the communication of one's own truth and the art of personal trauma.
The introductory part, along with conceptual definitions of personal trauma and alternative culture,
points to similarities shared with performative practices of applied theatre. After determining the basic
types of performance, the analysis turns to establishing terminology for applied performance by
transferring concepts from the theory of applied theatre. Terms are divided into categories (general and
umbrella terms, basic intention of performance, social/artistic status of performer, context of
performance creation and its collectiveness/individuality, radical characteristic of form and thematic
orientation of performance). The established terminology is then applied to the performances of Ivica
Čuljak/Satan Panonski.
Čuljak’s artistic position is determined and represented through five socially marginalized
positions, stigmas from which he has spoken artistically. The theme of the stigma of a patient portrays a
part of his life and creative work that took place in hospital conditions, based on available information,
and analyses a therapeutic effect of this art of pain. The identity of the mentally wounded is further
discussed using Erving Goffman’s concept of a total institution, and the relations and ways of Čuljak’s
drift towards the characteristics and forms of depersonalizing an individual, a process often occurring in such institutions. In the description of the murderer stigma and the status of a convict, the introduction
presents biographical data based on available court documents and other archival sources, and analyses
the convict stigma and the artistic identity resulting from it. Motives of the dramaturgy of crime,
punishment and justice, which are present in Čuljak's body art, as well as functions of performances
such as maintaining social links with the outside world or a brief formation of personal dignity, point to
a comparison of Čuljak’s performances to the type of applied performance called the prison theatre.
This section analyses a special aspect of Čuljak’s (non)artistic expressiveness on this subject as well –
requests for pardon, which deviate from the expected administrative style of writing, approaching a
hybrid genre at the intersection of a documentary and an artistic statement, in which Čuljak's language
of resistance is realized once again. In interpreting Čuljak’s position as the one of a forerunner of
contemporary spokespersons for queer persons and the voices from the margin, the creative work is
linked to queer concepts and the crip theory. Performative identity creation is examined through the idea
of the performativity and Judith Butler’s concept of subject undoing. The homosexual theme, which is
in Čuljak's works reinforced by motifs of diseases such as AIDS or syphilis as punishment for deviance,
is observed through Susan Sontag’s theoretical postulates on experiencing illness as an unnatural state,
social deviance or the state of the Other. This leads to the stigmatisation of patients, where Čuljak’s use
of the motif of illness is interpreted as a subversive act. The description of Čuljak’s controversial
position of a performer-warrior brings forward biographical information that indicates the
circumstances of his life and work after leaving the neuropsychiatric hospital and during the war period,
which are more difficult to shed light on. The beginning of warfare in Croatia is perceived through the
issue of the possibility of speaking about Croatian applied theatre/performances during the war, and
here the paper deals with the formation of anti-war art within institutions and the non-institutional antiwar art present in the alternative (subcultural) music scene and the performance art. Čuljak’s rare
performances during the war are marked by the absence of self-destruction, which is here considered as
possible proof of artist's reflection on his own performance and its impact on the audience. The
introduction to an overview of Čuljak’s belonging to the punk movement, observes the emergence of the
regional punk scene, and connects the local context with the concept of subculturalisation. As an
important feature of this subculture, the emphasis is put on the aspiration to create a different reality by
reinterpreting the spaces of performance, having a different understanding of the artistic status, forming
alternative social communities and affirming different gender and sex identities, which are in Čuljak’s
case realized through an informal organization Punk prisna porodica. Based on the available data, the
dissertation describes the ways this community functions, and states the basic elements of its
organization, which are as follows: naming the organization, writing programmatic texts, establishing
the philosophy of the community, taking over the role of the leader, setting up the we – they opposition
as a basis for members’ self-identification, along with creating an utopian vision of the future in the idea
of a punk commune.
The portrayal of the artist's mythologisation points to the realization of the artistic idea of
provocation using a versatile identity performative based on the production of disinformation, as well as
the inscenation and spectacularisation of one’s own life, which resulted in a distinct appearance of
numerous urban legends about Ivica Čuljak. This part of the thesis states the ways of their production
and distribution through the creation of artist's individual mythology, media exposure and posthumous
spread and upgrade of rumors in the mediosphere. Urban legends are thematically classified into
legends related to the autobiography mythologisation and the formation of the identity of the Other,
excessive behaviour, wartime and death. The theme of artist mythologisation is analysed through the
question of interaction between the oral tradition and the media as well.
The artistic appearance and life story of Ivica Čuljak have created a special aura of an authentic,
uncompromising artist, which persistently intrigues the public and has also proved inspirational to
authors in various fields of artistic expression. This chapter lists and briefly describes artistic and
documentary works created by using the motifs or the theme of life and creativity of Ivica Čuljak / Satan
Panonski, and more noteworthy commemorative projects. The end of this chapter gives an example of
Satan Panonski’s influence on the entire creative work of artist Sven Fabjan Gorjanec, and establishes a
division of Croatian artists of self-destructive body art into direct imitators and indirect continuators,
performance artists whose artistic work is marked by self-destruction acts. The final part provides an overview of key self-destructive body art performances by Croatian
artists from the beginning of the 1990s to 2018. These performances differ in the artists’ motives, the
performance sites that are no longer part of the margin, and the performances’ publicity/privacy. These
performances are defined as self-destructive gestures and as performances that are, in every sense of the
word, called self-destructive body art, based on the idea of self-harm that becomes an essential feature
of the artist's work overall. The overview presents works by the following authors and art groups: Josip
Pino Ivančić, Zlatko Kopljar, Le Cheval, Robert Franciszty, VlatkoVincek, SlavenTolj, Siniša Labrović,
Igor Grubić, Krešo Kovačiček, Boris Kadin, Gildo Bavčević, Marko Marković and Marijan Crtalić
Javno pamćenje: čuvanje različitosti i mogući projekti
No full textSuperiornost statusa intelektualaca a zapravo kulture i znanosti naprije treba biti moralna superiornost, koja mora imati utemeljenje u znanju, u dobroj obaviještenosti, a potom i u superiornom, riskantnom zadatku. Koji je to zadatak? Da stoje iza svoje interpretacije činjenica. Da opslužuju, poslužimo se već zlorabljenim izrazom, održivu istinu – onu koja je najbliža stvarnosti i kojoj je cilj da potraje, da bude oslonac, možda baš najviše onima koji dolaze. Nakon interpretacije slijedi još jedan izazov: komunikacija u ime svih oblika razmjene (kako ih objašnjava marketing), za potrebe korisnika
Narration der Krise: Die Weimarer Republik als politische, soziale und kulturelle Krise in den Werken von Fallada, Döblin und Kästner
No full textEs ist schon ein seltsamer Schicksalsschlag, hier nun zu sitzen und sich mit dieser einen bestimmten Epoche zu beschäftigen, die nun gerade nichts Geringeres als ihr hundertstes Jubiläum feiert.
Obwohl von feiern kann hier in diesem Sinne wirklich nicht die Rede sein. Es ist das Gedenken an eine Zeit, eine Epoche, die aus den Trümmern des neunzehnten Jahrhunderts (auf)erstanden ist. Ein Schnitt in der Geschichte, welcher das Ende einer alten und die Geburt einer neuen Welt einläutete. Das lange neunzehnte Jahrhundert, wie es erstmalig vom Historiker Eric Hobsbawm benannt wurde in seiner gleichnamigen Büchertrilogie, neigt sich seinem Ende zu. Wir wurden Zeugen seiner zahlreichen Revolutionen, seiner Kriege und seiner radikalen Ideen. Ideen wie Freiheit, Gleichheit und Brüderlichkeit dessen Funke bald ganz Europa mit Hilfe eines gewissen Bonaparte, entflammen wird.
Die Krise manifestiert sich in der Literatur auf viele unterschiedliche Arten, doch keine ist so groß wie die des Stils und der eigenen Identität als Autor. Ständig sucht man nach Antworten, die man den modernen Leser mitteilen möchte, doch die Zeit ist zu knapp und zu kostbar.
Diese Krise wird erst durch das Publikum verinnerlicht. Immer wieder kommt die Frage auf, was man den modernen Menschen, den Leser noch zu bieten hat. Von Krieg und Armut resigniert, und zur gleichen Zeit von den technologischen Fortschritt umgarnt.
Massenmedien wie der Rundfunk und Kinofilm locken den Leser weg, und gleichzeitig dekonstruieren sie alle bis dahin geltenden Regeln der Ästhetik. Was soll man den Leser, den Arbeiter noch bieten in dieser rasanten Welt
Furneral customs of Croats in Srijem
No full textU ovom radu autorica prikazuje posmrtne običaje Hrvata u Petrovaradinu, Sotu, Golubincima, Srijemskoj Mitrovici, Hrtkovcima i Rumi. Svrha istraživanja bila je utvrditi na koji se način posmrtni običaji i obredi, kao tradicijski oblici simboličkog ponašanja, manifestiraju unutar istraživane kulture, koje sve dimenzije obuhvaćaju i u kojoj mjeri se i dalje prakticiraju. Rad je podijeljen na sljedeće tematske cjeline: pripreme za smrt (priprema odjeće i pribora za ukop, bolesničko pomazanje i praštanje), predznaci smrti, običaji nakon smrti (postupci u trenutku smrti, oglašavanje i objavljivanje smrti, uređivanje i odijevanje pokojnika, izrada lijesova, prilozi u lijes, bdijenje, opraštanje od pokojnika), sprovod (pogrebna povorka, obredi uz pokop, grobni prilozi, grobovi marginalnih skupina, nadgrobni spomenici), običaji nakon sprovoda (daća, misa za pokojnika i posjećivanje groba nakon sprovoda, žalovanje, Svisveti) i vjerovanja vezana uz dušu pokojnika.In this paper, the author describes funeral customs of Croats in Petrovaradin, Sot, Golubinci, Srijemska Mitrovica, Hrtkovci and Ruma. The purpose of research is to determine the ways in which funeral customs and rituals, as traditional forms of symbolic behavior, manifest themselves within the explored culture, what dimensions they encompass and to what extent they continue to be practiced. The text is divided into the following thematic units: preparation for death (preparation of clothes and accessories for burial, anointing of the sick and forgiveness), omens of death, customs after death (actions at the time of death, the announcement and notification of death, dressing the deceased and getting the deceased ready for the funeral, coffin-making, grave goods placed inside coffins, vigil, final farewell), funeral (funeral procession, burial customs, grave goods, graves of marginal social groups, tombstones), customs after the funeral (Daća, Mass for the deceased, visiting the grave after the funeral, mourning, All Saints' Day) and beliefs related to the deceased's soul
Slobodna volja, vrijeme, pripovjedač i ljubav u Nabokovljevoj 'Loliti'
No full textRoman Vladimira Nabokova "Lolita" je od svog objavljivanja 1955. godine plijenio pažnju čitatelja, kritičara i teoretičara podjednako, potaknuvši mnoge znanstvene radove svojom tematikom i bogatstvom motiva za analizu. Ovaj rad će se pozabaviti četirima segmentima toga romana: problematikom slobodne volje i privatnosti, vremena u romanu, pripovjedačem te naposljetku i kontroverzno obrađenim motivom ljubavi. Analiza će se oslanjati na teorijske radove slične tematike u pokušaju prikazivanja kako navedeni elementi figuriraju unutar jednog od najpoznatijih i svakako najkontroverznijih Nabokovljevih romana
Razvoj publike popularne kulture u hrvatskim časopisima za mlade od 1958. do 1976. godine
No full textUsredotočujući se popularnu kulturu i mlade kao njezinu publiku te razmatrajući utjecaj tih dvaju pojava na globalni lik i intelektualnu povijest dvadesetoga stoljeća, u ovome radu analizom časopisa za mlade koji su izlazili u Hrvatskoj u dijalogu s postojećom literaturom i primarnim izvorima nastojim pridonijeti proučavanju jugoslavenske kulture koja se oblikuje u poslijeratnome razdoblju ne samo mapiranjem prethodno neistraženoga područja, već i ukazivanjem na izniman značaj polja popularnoga i figure omladine za širi problem jugoslavenskoga socijalističkog projekta. Analizom niza teorijskih refleksija o jugoslavenskoj popularnoj kulturi i mladima ukazujem na ključni simbolički značaj figure omladine kao nositelja jugoslavenskoga socijalističkog projekta te pokazujem kako se upravo ta figura izdvaja kao privilegirani prostor pregovaranja napetosti koje obilježavaju odnos jugoslavenske vizije socijalističke modernosti i razvoja polja popularnoga. Analizom primarne građe i razmatranjem promjena u širemu ekonomskome, političkome i društveno-kulturnome kontekstu izdvajam razdoblje između 1958. i 1976. godine kao konstitutivno za razvoj jugoslavenskoga polja popularnoga te pokazujem kako to polje – koje u tome razdoblju postaje ispresijecano nizom distinkcija koje radikalno mijenjaju lik „skupa općenito dostupnih artefakata“ i publici popularne kulture pridaju urbani, srednjoklasni i maskulini lik, dodatno obilježen nacionalnim distinkcijama – poprima više sličnosti sa svojim Zapadnim parnjakom nego što mu se obično priznaje, što nam dopušta da u novome svjetlu promotrimo problem „posebnosti“ jugoslavenske popularne kulture.Focusing on popular culture and youth as its audience and exploring the impact these two phenomena have left on the global character and intellectual history of the twentieth century, this paper enters into dialogue with the existing literature and primary sources in order to employ an analysis of youth magazines published in Croatia as a way of making a contribution to research focused on Yugoslav culture formed in the post-war period not only by mapping a previously unexplored area, but also by emphasizing the extraordinary significance of the field of the popular and the figure of youth for the broader issue of the Yugoslav socialist project. Through an analysis of a number of theoretical reflections on Yugoslav popular culture and youth, this paper underlines the key symbolic importance of the figure of youth as the subject expected to carry out the Yugoslav socialist project and it demonstrates how this figure came to function as the privileged space for the negotiation of the tensions that mark the relationship between the Yugoslav vision of modernity and the developing field of the popular. Through an analysis of the primary sources and a consideration of the changes that occur in the broader economic, political and socio-cultural context, this paper identifies the period between 1958 and 1976 as constitutive for the development of the Yugoslav field of the popular and demonstrates how this field – which, in this period, becomes marked by a number of distinctions that drastically alter the image of the “set of generally available artefacts” and produce a privileged audience of popular culture, which is urban, middle-class, masculine and additionally marked by national distinctions – becomes more similar to its Western counterpart than it is typically assumed, which allows us to examine the issue of the “exceptionality” of Yugoslav popular culture in a new light
Übersetzung aus dem Kroatischen ins Deutsche; Übersetzung aus dem Deutschen ins Kroatische
No full textThe determinants of engagement in learning physics
No full textCilj ovog istraživanja bio je ispitati odrednice uključenosti u nastavu i učenje fizike na
uzorku učenika 7. razreda osnovne škole. Teorijski okvir činile su Teorija socijalne kognicije,
Teorija samoodređenja, Teorija očekivanja i vrijednosti te koncept uključenosti. Uključenost je
operacionalizirana kao trodimenzionalni konstrukt kojeg čine bihevioralna, kognitivna i
emocionalna uključenost. U istraživanju je sudjelovalo 643 učenika 7. razreda iz 35 razrednih
odjeljenja iz ukupno deset osnovnih škola u Zagrebu u tri točke ispitivanja. Završni uzorak je
činilo 436 učenika kod kojih su se mogli povezati podaci iz sve tri točke istraživanja. Rezultati
višerazinskog linearnog modeliranja pokazali su da su pozitivni prediktori bihevioralne
uključenosti u učenje fizike osobine ugodnosti i savjesnosti, samoefikasnost u fizici, interes za
fiziku, važnost fizike, individualna percepcija nastavničke strukture i nastavničkog poticanja
autonomije te percepcija korisnosti i važnosti fizike na razini razrednog odjeljenja. Pozitivnim
prediktorima kognitivne uključenosti u učenje fizike na individualnoj razini pokazali su se
savjesnost, samoefikasnost u fizici, vrijednost fizike kao i nastavničko poticanje autonomije.
Na razini razrednog odjeljenja su se pozitivnim prediktorima kognitivne uključenosti pokazali
samoefikasnost u fizici i važnost fizike, a negativnim prediktorom razredni interes za fiziku.
Pozitivnim prediktorima emocionalne uključenosti u učenje fizike na individualnoj razini su se
pokazali ekstraverzija i emocionalna stabilnost, samoefikasnost u fizici, interes za fiziku te
individualna percepcija nastavničke strukture, a negativnim prediktorima percepcija važnosti
fizike te konflikata među vršnjacima u razrednom odjeljenju. Na razini razrednih odjeljenja su
se pozitivnim prediktorima emocionalne uključenosti u učenje fizike pokazali samoefikasnost
u fizici i interes za fiziku, dok se važnost fizike pokazala negativnim prediktorom. Metoda
strukturalnog modeliranja je pokazala da je trokomponentna operacionalizacija uključenosti u
učenje fizike potpuni medijator u odnosu između učeničke savjesnosti i vrijednosti fizike te
ocjena iz fizike i zadovoljstva u školi. Klaster analiza je pokazala tri profila učeničke
uključenosti u učenje fizike: optimalni, anksiozni i umjereni. Analiza varijance je pokazala da
optimalno uključeni učenici značajno višom procjenjuju svoju samoefikanost u fizici i
vrijednost fizike te postižu bolje ocjene i više zadovoljstvo u školi u odnosu na učenike s
profilom anksiozne i umjerene uključenosti u učenje fizike.Engagement is a concept from the field of motivation, although it is about different but
related constructs: while motivation is a private, psychological, neural and biological process
that precedes engagement, it could be said that engagement is an objectively perceived
manifestation of motivation (Reeve, 2012). It is generally accepted that both motivation and
engagement are influenced by the context, that there are individual differences in the way pupils
respond to the environment, and that these constructs are associated with important student
outcomes (Reschly & Christenson, 2012). the aim of this research was to examine the determinants of engagement in
classroom and learning activities in physics on a sample of 7th
-grade elementary school pupils.
The specific objectives were: (1) to investigate the predictors of different aspects (behavioral,
cognitive, emotional) of engagement in classroom and learning activities in physics; (2) to
examine the role of engagement in classroom and learning activities in physics as a mediator in
the relationship between the perception of the context (the teacher's motivational style and
relationship with peers) and personal characteristics (personality traits and motivation for
learning physics) on one hand, and grades in physics and satisfaction in school on other; and
(3) in a person-centered approach, to identify the profiles of engagement in learning physics
and to examine whether these profiles differ in the subjective value of physics, self-efficacy in
physics, grades in physics, and satisfaction in school.
As a theoretical framework, three theories of motivation were used: the theory of social
cognition (Bandura, 1986); the self-determination theory (Deci & Ryan, 1985); the expectancy–
value theory of achievement motivation (Wigfield & Eccles, 2000); and the concept of
engagement (Connell & Wellborn, 1991; Fredrics et al., 2004; Reeve, 2012; Skinner & Pitzer,
2012)