Digitalni arhiv Filozofskog fakulteta u Zagrebu
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Internet using characteristics and perfectionism as predictors for cyberchondria
No full textInternet je postao jedan od glavnih izvora zdravstvenih informacija (Flaherty, 2016). Ponavljajuće i ekstremno pretraživanje informacija o zdravlju na internetu
potaknuto brigom i anksioznošću, koje dovodi do još veće zabrinutosti i anksioznosti naziva se cyberhondrija (Starčević i Berle, 2013). Cilj ovog istraživanja bio je provjeriti mogućnost predviđanja simptoma cyberhondrije na temelju sociodemografskih karakteristika, karakteristika korištenja interneta i dimenzija perfekcionizma.
Istraživanje je provedeno putem online ankete, a sudjelovalo je 382 sudionika u dobi od 15 do 73 godine. Rezultati su pokazali da izraženiju cyberhondriju pokazuju mlađi, oni
nižeg stupnja obrazovanja, oni koji provode više vremena na internetu i imaju nižu razinu internetske zdravstvene pismenosti te izraženiji negativni perfekcionizam. Što se
tiče dimenzija cyberhondrije najbolji prediktori pokazali su se spol, internetska zdravstvena pismenost te pozitivni i negativni perfekcionizam. Žene pokazuju veće
pretjerivanje, rastresenost i potrebu za drugim mišljenjem prilikom internetskog pretraživanja zdravstvenih informacija, a muškarci pokazuju veće nepovjerenje prema
medicinskim stručnjacima. Visoka razina internetske zdravstvene pismenosti povezana je s većim pretjerivanjem i potrebom za drugim mišljenjem prilikom internetskog
pretraživanja simptoma. Pozitivni perfekcionizam pokazao se kao zaštitni faktor kod razvoja cyberhondrije. Oni s izraženijim pozitivnim perfekcionizmom imali su niže
rezultate na dimenzijama cyberhondrije, dok su više rezultate na dimenzijama cyberhondrije pokazali oni s izraženijim negativnim perfekcionizmom.Internet has become one of the major sources of health information (Flaherty, 2016). The recurrent and extreme search for health information on the internet, triggered
by worry and anxiety, leads to even greater concern and anxiety called cyberchondria(Starcevic and Berle, 2013). The aim of this study was to check the possibility of
predicting the symptoms of cyberchondria on the basis of socio-demographic characteristics, internet using characteristics and dimensions of perfectionism. The
survey was conducted through an online survey, with 382 participants aged between 15 and 73 years old. The results show that more prominent cyberchondria is within
younger, lower educated, those who spend more time on the internet and have lower levels of eHealth literacy and higher levels of negative perfectionism. Regarding the
dimension of cyberchondria, the best predictors were gender, eHealth literacy and positive and negative perfectionism. Women show greater excessiveness, distress and
need for reassurance by medical professionals during online health information seeking, and men show a greater degree of mistrust towards medical professionals. The high
levels of eHealth literacy is associated with a greater excessiveness and the need for reassurance when searching online for symptoms. Positive perfectionism proved to be a
protective factor in the development of cyberchondria. Those with more higher levels of positive perfectionism had lower results on the dimensions of cyberchondria, while
higher results on cyberchondria dimensions showed those with higher levels of negative perfectionism
Hrvatsko-njemački dodiri u gramatikografiji sredinom 19. stoljeća
No full textU ovom se radu na temelju triju devetnaestostoljetnih knjiga analiziraju hrvatsko-njemački
dodiri u gramatikografiji, disciplini koja se bavi proučavanjem načina na koji su pisane
gramatike.
Uvodni dio rada donosi povijesni okvir unutar kojega se zacrtavaju društvene i političke
prilike, posebice one vezane za sredinu 19. stoljeća, a zatim se ukratko prikazuje razvoj
hrvatskoga školstva uz poseban osvrt na učenje njemačkoga jezika čiji se status tijekom
vremena mijenjao, ovisno o društveno-političkoj situaciji. Zajedno s mijenjanjem statusa
njemačkoga jezika mijenjala se i uloga nastave njemačkoga jezika u Hrvatskoj, što se odrazilo
i na metodički i didakički aspekt u učenju njemačkoga jezika.
U glavnom dijelu rada analiziraju se dva udžbenika njemačkoga jezika i jedan
udžbenik hrvatskoga jezika za govornike njemačkoga. Analiza se provodi na temelju
određenih kriterija, a poseban naglasak stavlja se na uspoređivanje gramatičkih struktura u
hrvatskom i njemačkom, pri čemu se nastoji razmotriti kojim kategorijama i na koji način
autori opisuju oba jezika. Osim samoga gramatičkoga opisa, navedene gramatike sadržavale
su i drugi materijal za učenje jezika pa su zapravo imale ulogu današnjih udžbenika.In dieser Arbeit werden kroatisch-deutsche Kontakte in der Grammatikographie anhand von
drei Büchern aus der Mitte des 19. Jahrhunderts erforscht. Es handelt sich um eine
linguistische Disziplin, die sich mit der Art und Weise befasst, wie Grammatiken geschrieben
werden.
In einem kurzen historischen Überblick werden zunächst die gesellschaftlichen und
politischen Umstände dargestellt, wobei insbesondere die Periode um die Mitte des 19.
Jahrhunderts berücksichtigt wird. In der kurzen Darstellung des kroatischen Schulwesens
wird besonders auf die Stellung der deutschen Sprache eingegangen.
Im Hauptteil der Arbeit werden zwei Lehrbücher der deutschen Sprache und ein
Lehrbuch des Kroatischen für Deutschsprechende analysiert. Die Analyse wird anhand
bestimmter Kriterien durchgeführt, was einen Vergleich dieser Bücher ermöglicht. Dabei
interessiert uns besonders das Vergleichen grammatischer Strukturen des Deutschen und des
Kroatischen: in welcher Art und Weise und mithilfe welcher Kategorien werden die beiden
Sprachen miteinander verglichen. Wie damals üblich, bildet die grammatische Beschreibung
den größten Teil der Bücher, sie enthalten jedoch auch Wortlisten, Übungen und Texte, hatten
also die gleiche Funktion wie die heutigen Lehrbücher
The problem of social construction of the visual field in theory of A. C. Danto
No full textCilj je rada pokazati ulogu društvenoga utjecaja na nastanak i tumačenje umjetničkih djela unutar
Dantoove teorije umjetnosti. Razvoj umjetnosti u avangardi i neoavangardi pokazao je da se
umjetnost nalazi u razdoblju u kojoj je gotovo svaki predmet moguće tumačiti kao umjetničko
djelo ukoliko je nastalo, protumačeno ili izloženo u kontekstu koji to dozvoljava. Ekstenzija
definicije na kontekstualne elemente omogućila je ispitivanje društvenoga utjecaja na nastanak i
tumačenje umjetničkih djela unutar analizirane teorije. Istraživanje je uključilo analizu relevantnih
tekstova o tradicionalnim i suvremenim definicijama umjetnosti u odnosu spram Dantoove
definicije, moguće protuprimjere i opravdanja Dantoove pozicije. Pokazano je, također, da je
uvođenjem kontekstualnog objašnjenja Dantoova teorija umjetnosti već sama po sebi sadržavala
društvenu ulogu i da je kao takva konzistentna s kasnijim istraživanjima vizualnosti kao ne samo
prirodne zadanosti. Međutim, ona se morala dodatno analizirati s obzirom na konstruktivističke
primjedbe da produkcija i tumačenje vizualnih umjetničkih djela utječu i na promjene naše
vizualne percepcije te da vizualne informacije u sebi uvijek nose političku i ideološku moć. Stoga
je istraživanje prošireno analizom Dantoovog dualističkog objašnjenja vizualnosti koje se tumači
i kao naturalističko, ali koje ujedno pokazuje potrebu i mogućnost uključenja odbačenih
konvencionalističkih stajališta da bi njegova teorija umjetnosti zadržala konzistentnost s obzirom
na vlastiti ekstenzijski karakter. Zaključno, Dantoova se teorija umjetnosti zbog ustanovljenog
društvenog karaktera analizirala i u kontekstu uvrštavanja u institucijske teorije. Analizom
njegove i dvjema inačicama Dickiejeve teorije pokazano je da je Danto s pravom odbacio
tumačenje vlastite teorije kao institucijske u slučaju Dickiejeve prve inačice. Međutim, zaključeno
je da je druga inačica, koju Danto sam nikada nije komentirao, konzistentna s Dantoovom teorijom
umjetnosti te da predstavlja potrebno proširenje Dantoove pozicije kako bi se u potpunosti
objasnili društveni elementi koji utječu na produkciju i tumačenje umjetničkih djela. Svime je
navedenim kao rezultat rada pokazan društveni karakter Dantoove teorije umjetnosti te potreba
njezine nadopune konvencionalističkim objašnjenjima u problemu vizualne percepcije i
društvenom kreiranju značenja te u objašnjenju uloge društvenih skupina i institucija pri
klasifikaciji umjetničkih djela.The topic of this piece is the issue of social constructiveness of visual art in Arthur C.
Danto's theory. Hence, the goal is to analyse Danto's art theory, with special regard to visual art
which is also in the centre of his considerations. Namely, visual art with avant-garde and neo avantgarde practises has been faced with radical changes in the 20th century. Rupture with the
traditionally interpreted art and their norms for beauty and morality has signified a paradigmatic
change that included using everyday, non-art objects and proclaiming such to be art. In that sense,
the works of Marcel Duchamp and Andy Warhol signify the highlight of paradigmatic change and
new artistic practises, as well as borderline cases of art for which we cannot with certainty
intuitively determine whether it is a work of art or a non-art object. The inability to differentiate
sensorineural identical objects that are ontologically different from one another has shown that the
definition of artistic work is necessary. However, traditional definitions of art have proved
themselves to be insufficient for such an explanation. They have resided on a property with which
they have defined artistic work, and so there are appropriate definitions for representational,
expressionist and formal properties. Insufficiency of traditional definitions that have crumbled due
to being faced with hereby said changes, means development of scepticism about the possibility
of instating a stabile definition. Therefore, Danto’s art theory is overcoming the scepticism and
traditional definitions of art, and the reason for such are the social elements that Danto included
his work. On the other hand, the development of researching the visuals is encouraged by
technological advances, and above all else, in photography and film. A strong progress in
presentational techniques and transfer of picture has led to research of social impact and the
meaning of picture, of political and ideological roles in society and even social constructiveness
of visual perception as a whole. Hence, the highlighted power and social role of the visuals has set
the question about social power of images into the centre of attention. Relationships between visual
works of art and thus introduced visuals with its social character is therefore, the centre piece of
this essay.
In the first part the downsides to traditional definitions of art shall be shown, as well as
sceptical arguments that may demonstrate the unnecessity of a new theory about art. The sceptical
arguments are centred on overthrowing the necessary and sufficient reasons, and rushed changes within art itself have additionally justified such a stance. Sceptics’ main arguments in regard to
defining were based on art as an open concept that prevents defining due to its open-mindedness,
diversity of artistic works and forms where there are no fundamental common properties to be
found but only the relatively newly founded concept of art as a whole that cannot be applied to
periods before the 18th century.
Danto’s interest in reaching a new definition of artistic works has returned necessary and
sufficient reasons for defining works of art back into the centre of attention, as well as their
ontological discernment from non-artistic objects. However, the new definition is different than
the previous due to two certain components. Firstly, the definition has not been established on one
necessary and sufficient reason. In itself, it has unavoidably kept the presentational property that
may, but does not have to, rely on the similarity between the presented object and presentation
itself. Thus, the term of mimes that has burdened a few of the earlier definitions and made the
inclusion of literal art or ready-made works of art virtually impossible, has been overcame. At the
same time, that means that all works of art were always about a particular topic, that they always
had meaning. The new problem that has arisen with such a condition is presented by a contradicting
statement that aims to shown that some artistic pieces, mostly musical, do not contain the necessity
of presentational property. Although such an argument is rejected in Danto’s theory due to an
explanation that even musical or performance artistic pieces present or otherwise they are simply
not works of art, he, with the previously stated importance of visual perception and technological
advances in the visual domain, presents one of the reasons for such an artistic name and narrowing
the research to the visual domain only. On the contrary, research would necessarily include yet
another problem that is not strictly related to the investigated topic. But presentational property
could not prove itself to be as sufficient. As was shown by probably the most important
commentator of Danto’s theory of art, Noël Carroll, artistic pieces are simply one of the systems
that present, that are about a certain topic. The same condition is instated in regards to maps,
diagrams, traffic signs or words. Hence, along with the presentational properties that artistic pieces
share with other works, additional distinguishing attributes should be added to non-art objects.
Danto finds such properties in a characteristic that artistic works express their meaning in a specific
fashion. Although this part of his theory Danto has not elaborated in the greatest of details, stating
one’s own meaning of artistic piece is accomplished through rhetoric and style that, in such a way,
expression in itself. Therefore the work of art in Danto’s artistic theory is a representation that in a specific and intentional fashion offers diverse, but still limited interpretations of meaning. Thus
in the definition Danto has, besides the presentational, kept the expressive property as well, but
not to be taken as narrow-mindedly as in a sense of transferring only certain mental states like
emotions and moods.
The historical development of art has shown that interpretation of artistic pieces may vary
and change, and that is most notable in Danto’s favourite ready-made example which, according
to his own understanding, shows a radical shift in meaning. Such radicalism is visible in
constructing auto-referential meanings. In other words, works of art begin to speak about
themselves, their own tradition and development as well as social status. And thus Danto’s artistic
theory is the first one in defining based on already established necessary and sufficient reasons to
leave from completely unavoidably implanted properties of artistic works and becomes and
extensional theory. Namely, except the representation and expression, it consists of the viewer’s
interpretation of artistic pieces in regards to the artistic world that entails the knowledge of theory
and art history, social constructs and wider social practises. Finally, such a historical growth of art
has shown itself to be an intrinsic property of art that begins to question and problematize its own
structure, history and place in society and thus it becomes its own philosophy. In that process the
sensorineural properties or artistic pieces change by the discovery and interpretation of their
relations towards the world and art itself enters into post-historical period in which there is no
more room for paradigmatic changes. And in such a way of introducing the end of art as the
completion of its development, Danto also includes Hegel’s philosophical system that ensures the
definition’s stability, but only in a modified understanding of the end of arts as the end of history,
itself in his own theory.
Therefore the first part is primarily centred on Danto’s theory of art, it verifies the validity
and logical justification of necessary and sufficient reasons, as well as it shows its inheritable social
elements. Namely, despite Danto’s disagreement, his theory of art is set as a conventionalist
theory. Although it varies from Goodman’s conventionalism due to the fact that possible
understandings of meanings limit and are not completely taken as arbitrary, which shows that, in
its core theory, artistic work has come closer to the functioning of symbols as Goodman presents.
Hence even though Danto’s interpretation of works of art is not considered to be a convention in
its own right, it does show how his theory allows even the conventionalist thinking. The second chapter is oriented to the research of Danto’s explanation of visual perception
and its role within his theory of art. Likewise, there are efforts to imbed Danto’s artistic theory
into the research of what is already considered as visual culture.
Besides an array of different attempt at defining artistic pieces, the second half of the 20th
century has also been marked with a strong interest in the visuals. Interdisciplinary research of the
visuals have taken philosophy, psychology, as well as research in other cognitive sciences that in
their own right present an interdisciplinary field of developing mental states, beliefs, meaning,
teaching and intentions, into account. The strong research of visuals is primarily inspired by the
abandonment of believing in the dominance of lingual systems of presentation and by leaving the
stance that visual perception is a completely natural process to which our social and cultural
activities have no impact. And thus after the “turn to language” that signified the dominance of
lingual systems, the “visual turn” that marks visual domination in modern society has followed. In
such a way, research into the power of images and generally the power of visuals has been given
its extensions in interpreting the visuals as a conformation of social spectacles, social surveillance
or simply society that is fully oriented towards the aestheticisation of reality. The highlight so
constructed social dominance of images has most likely been accomplished by Mitchell’s question
about “what do pictures want”. And thus Danto’s understanding of positioning visuals and visual
artistic works has been envisioned as an answer to that question, and such an answer could be
summarized into a hypothesis that images desire nothing in their own right, besides being
recognised as art themselves when there are necessary and sufficient reasons to do so. Namely,
between naturalistic explanations that are founded on visual perception as a natural and birth-given
ability that in no way possible depends on social and cultural patterns and constructivist
explanations that reject the so called “innocence of the eye”, Danto’s naturalistic position is trying
to be proven as unsustainable. In his interpretation of visual perception, Danto follows Fodor’s
modularity of mind, which entails a strong dualism between naturally given visual perception and
recognition (Danto’s interpretation) of what is it we see. There will be efforts to show that Danto’s
theory needs to be revised and that such it still stays consistent with his theory of art. The main
hypothesis of this part is the possibility of retaining a modular approach towards the visuals, as is
stated by Danto, but also the need to add another constructivist aspect to the understanding of the
visuals. If our visual perception of artistic works truly depended on natural and birth-given ability
and if it did not have a reciprocal effect on the visual perception itself in a way that it changes it while doing so, then there still are certain concepts of our minds, responsible for processing which
has been visually perceived, that are changing. Finally, that means that based on our social and
cultural practices, there are “shortcuts” in the interpretation of meaning that artistic works hold for
us being produced, as well as that the meanings learnt in such a way which more or less signifies
them as arbitrarily assigned and internalized, affect the shaping of social conventions. But the
effect of social practise does hold a complete change of our visual perception in itself, so Danto’s
stance that our perception is not historical even though we ourselves are, can be kept with the given
modification. Such a modification is also in sync with the research into cognitive sciences which
confirm that cultural and social effect on our visual perception is actually the one between
complete constructivism and naturalism. Therefore here is there another effort to shown a greater
effect of conventionalism on Danto’s theory of art, but also his initial hypothesis is not being
rejected in full.
The third part of this piece presents the last opportunity of the social and cultural to affect
the construction of visual artistic works. It is about the relationship between Danto’s and Dickie’s
theory inside the possible institutional frame. Namely, besides what is considered conventionalist
theory, Danto’s theory is the one of institutional theories. Inside the framework of this essay,
Dickie’s theory shall be referred to as the Institutional Theory to signify its very name and to avoid
any misunderstandings regarding which of the two theories will be described.
According to his own acknowledgments, Dickie has based his theory on Danto’s work
about defining works of art. In his attempts to define, he has made several variants from which
two, that may representationally exemplify the basic constructs of his theory, will be selected in
this piece as a foundation. The first variant contains only two necessary reasons for some object to
be proclaimed an artistic piece. Those two reasons are artifactuality and being nominated for
assessment of artistic status that is commissioned by some member of the society. And while
artefactuality is compliance with Danto’s artistic theory, the other condition has shown itself to be
a result of Dickie’s wrongful understanding of the term artistic world. Hence, Danto has rejected
the Institutional Theory. But Dickie has adjusted his theory and made a new version that has five
definitions. Although Danto has not responded to that version of Dickie’s theory, here is a
hypothesis that Danto’s artistic theory can in fact support the new version of Institutional Theory.
In regards to the context to which Danto has attempted to place visual works of art, it seems rather unjustified to leave out the role of social and artistic institutions. By implementing elements which
would explain even the institutional context in Danto’s theory, a greater level of the theory itself
could be accomplished, and theory would be completely classified within the institutional ones as
is already stated in certain reviews, even though today’s reasons for such a classification are not
satisfactory.
The development of art in avant-garde and neo avant-garde has shown that art is currently
in a period in which almost all pieces are allegeable to be perceived as art if it was made, explained
or exposed in the context that allows it to be so. The extension of the definition to contextual
elements has enabled questioning of the social impact on creation and understanding artistic pieces
within the analysed theory. Research includes the analysis of relevant texts about traditional and
contemporary definitions of art in regards to Danto’s definition, possible counterexamples and
justifications of his position. It has been presented that, by introducing contextual explanations of
Danto’s artistic theory, it had already possessed a social role in itself and as such it is consistent
with later research of the visuals as not only as a part of natural science. However, there was a
need to additionally analyse it in regards to constructivist remarks that production and
understanding of visual pieces of art also affect the changes on our visual perception and that visual
information always have a certain political and ideological power. Thus the research has been
expanded by the analysis of Danto’s dual explanation of the visuals that is also interpreted an s
naturalistic one, but which also shows a need and possibility to include the rejected conventionalist
opinions so that his theory of art would retain a consistency with its own extensional character. To
conclude, due to its established social character, Danto’s theory of art is analysed in the context of
implementing it in institutional theories. The analysis of Danto’s and the two variants of Dickie’s
theory has shown that Danto was right to dismiss the interpretation of his own theory as an
institutional one in the case of Dickie’s first variant. However, it has been concluded that the
second variant, to which Danto himself never made any comments, is consistent with Danto’s
theory of art and that it presents a necessary extension of Danto’s position to completely explain
the social elements that effect the production and interpretation of artistic pieces. With all stated,
a result of this piece is the demonstration of Danto’s theory of art as a one with a social character
and of the necessity of its completion by conventionalist explanations in regards to visual
perception and social creation on meaning and to explaining the role of social groups and
institutions within the classification of artistic works
: The Development of Ottoman Journalism in the Period of Europeanisation
No full textU ovom je radu opisano osmansko novinarstvo perioda europeizacije. Osmansko se novinarstvo pojavilo 1831. godine pokretanjem prvih službenih novina u Carstvu, Takvim-i Vekayi. Uzor i model po kojem su nastale Takvim-i Vekayi bile su francuske publikacije objavljivane u Istanbulu i Izmiru. Tijekom prvih 30 godina osmanskog novinarstva postojale su samo službene novine koje su se objavljivale u skladu sa željama vlasti. Međutim, 1860. godine se situacija promijenila jer se pojavila skupina intelektualaca koja je počela propitivati i kritizirati osmanske vlasti. Novine su u tom periodu također dobile edukativnu ulogu i postale su platforma za širenje liberalnih, europskih ideja. Vladavina sultana Abdülhamida II. (1876.-1909.) označila je početak novog perioda u kojem je jačala cenzura. Cenzura je zaustavila razvoj kritičke publicistike započet u drugoj fazi, te su novine još jednom postale oruđe u rukama vlasti. Međutim, nisu sve novine bile oruđe osmanskih vlasti, već se većina okrenula k drugim temama poput književnosti i znanosti.Ottoman journlism of the period of Europeanisation is described in this thesis. Ottoman journalism emerged in 1831 when the first official newspaper of the Empire, Takvim-i Vekayi, was published. The model by which Takvim-i Vekayi was made were French publications published in Istanbul and Izmir. During the first 30 years of Ottoman journalism there were only official newspapers that were published in accordance with the wishes of the authorities. However, in 1860 the situation changed because a group of intellectuals appeared and they started to question and criticize the Ottoman authorities. The newspapers also gained an educative role in that period and became a platform for spreading liberal, European ideas. The rule of Sultan Abdulhamid II. (1876-1909) marked the beginning of a new period in which censorship increased. Censorship stopped the development of opinion journalism that began in the second phase and the newspapers once again became tools in the hands of the authorities. However, not all newspapers were the tools of Ottoman authorities, but most turned to other topics such as literature and science
Übersetzung aus dem Deutschen ins Kroatische; Übersetzung aus dem Kroatischen ins Deutsche
No full textLibraries in the Krapina-Zagorje county
No full textKrapinsko-zagorska županija nalazi se na sjeverozapadu Republike Hrvatske. Na području županije djeluje 55 knjižnica među kojima razlikujemo tri vrste: narodne (općinske i gradske), specijalne i školske (osnovnoškolske i srednjoškolske). U Upisnik knjižnica uvedeno je 14 narodnih knjižnica, 38 školskih knjižnica te 3 specijalne knjižnice.Krapina-Zagorje County is located in the northwest of the Republic of Croatia. There are 55 libraries in the county, divided into three types: public libraries (municipal and city libraries), special libraries and school libraries (elementary and high school libraries). There are 14 public libraries, 38 school libraries and 3 special libraries in the Register of Libraries of the Ministry of Culture
City library of Zagreb in the past and present
No full textPolazišnu točku ovoga rada čine teorijski okviri povijesnog razvoja Gradske knjižnice u Zagrebu, bez kojih ne bi bilo moguće provesti analizu godišnjih izvještaja rada Knjižnice u odabranom razdoblju, što je temeljni koncept ovog rada. Također, sam rad ostavlja prostor za razmišljanje o potencijalnom napretku te poboljšanju knjižničnog djelovanja i usluge za sadašnje i buduće generacije.The starting point of this paper is the theoretical framework of the historical development of the City Library of Zagreb without which it would not be possible to carry out an analysis of the annual reports of the Library's work in the selected period, which is the core concept of this work. Also, the work itself encourages thinking about potential progress and improving library activities and services for present and future generations
Network forensics
No full textMreža je tok podataka, ako je njezina sigurnost ugrožena, ugroženi su i podaci. U ovom radu ću se baviti temom mrežne forenzike, granom digitalne forenzike koja se fokusira na kriminal na Internetu, Ethernetu, mrežnim protokolima te bežičnom prometu. Budući da je računalni kriminal sve rasprostranjeniji u svijetu, tako i u Hrvatskoj, kibernetička sigurnost se javlja i u obrazovanju. Iznijet ću statističke podatke Computer Emergency Response Team-a, kao uvid u trenutnu situaciju i blisku budućnost razvitka sigurnosti računalnih mreža.Network is a data flow, if its security is compromised, data is compromised. In this paper I will deal with the topic of network forensics, a branch of digital forensics focused on crime on the Internet, Ethernet, network protocols and wireless traffic. Since cybercrime is increasingly widespread in the world, as well as in Croatia, cybersecurity also appears in education. I will outline the Computer Emergency Response Team's statistics, as an insight into the current situation and the close future of the development of computer network security
Imenica u rumunjskome – povijesni aspekti
No full textOvaj rad bavi se pitanjem povijesti imenice u rumunjskom jeziku, točnije njenim razvojem od latinskog do današnjeg rumunjskog. Prije svega, treba naglasiti kako nije riječ o temi koja nudi kakvo novo otkriće vezano uz naslovnu temu: „Povijest imenice u rumunjskome – povijesni aspekti”, već kako je riječ o analizi rumunjske imenice u postojećim različitim povijestima rumunjskog.
Prije same analize, uvodni dio predstavlja temu i ciljeve rada, nakon čega smješta rumunjski u odnos s drugim srodnim jezicima (romanski, indoeuropski jezici) kako bi se stvorila jasnija slika o njegovu razvoju. Nadalje, uključivanjem rumunjskog u kontekst romanskih jezika, opisuje se razvoj Rimskog Carstva i njihovih sukoba s Dačanima koji su poslužili kao uvod nastajanju rumunjskog jezika, gdje potonji narod predstavlja supstrat – a rimski dolazak superstrat (vulgarni latinski). No, samo nastajanje nije dobro posvjedočeno, već obilježeno kao stanovito „razdoblje šutnje”, koje je ukratko opisano kako bi olakšalo razumijevanje poteškoće analize razdoblja koje ne sadrži mnoga posvjedočenja – ali možda i najbitnije promjene imenice u rumunjskom.
Nakon toga slijedi kratki opis latinskog i vulgarne mu varijante te poteškoća vezanih uz njenu rekonstrukciju, a potom se opisuje uloga i osobine imenice u latinskom, kao i vulgarnom latinskom – govornoj i svakidašnjoj varijatni latinskog koja, premda slabije posvjedočena (ali rekonstruirana po potrebi), predstavlja izvor današnjih romanskih jezika. U principu, razrada problematike povijesnog razvoja imenice u rumunjskom teško je izvediva bez pojašnjenja njena razvoja u vulgarnom latinitetu.
Imajući u vidu kontekst nastanka rumunjskog iz vulgarnog latiniteta, lakše je objasniti nasljeđene osobine imenice u rumunjskom: rod, broj i padež; kao i novitet koji predstavlja pojava člana (što je slučaj i u ostalim romanskim jezicima). Koristeći brojne izvore, ovaj rad analizom pokušava dati što točnije i izglednije odgovore na sporna pitanja kao što su očuvanje srednjeg roda i deklinacije u rumunjskom. Također, stanje u današnjem rumunjskom, posljednjoj fazi razvoja, donosi neka obilježja koja valja opisati.
Na koncu, sami zaključak donosi pregled ovog diplomskog rada, čiji je cilj, prije svega, predstaviti postojeće izvore, ideje i mišljenja vezana uz razvoj imenice od vulgarnog latinskog do suvremenog rumunjskog, uz napomenu kako nije riječ o potvrđivanju postavljene teze ili otkrivanju noviteta, već ogledu pojedinih povijesnih aspekata ukomponiranih u cjelovit sažetak
Uloga igre u učenju francuskog kao stranog jezika
No full textČovjek se još od antike služio igrama kako bi se zabavio, ali i otkrio svijet oko sebe. U vrijeme humanizma i renesanse uočena je i edukacijska vrijednost igre. Zanimanje za pedagošku igru u nastavi povećalo se tek u zadnjih trideset godina, ali igra i dalje ostaje marginalizirana i obično se koristi kao nagrada na satovima stranih jezika na kraju školske godine. U ovom smo radu htjeli istražiti može li igra kao nastavno sredstvo poslužiti u stjecanju leksičke kompetencije. Na igru smo se odlučili zbog njezinih brojnih prednosti: intrinzična motivacija učenika, koncentracija na zadatak, poticanje komunikacije, preuzimanje inicijative, razvijanje logičkog načina razmišljanja, zapažanja, izražavanja i kritičkog duha.
Nastavnik koji vodi igru mora jasno postaviti pravila, a ciljeve igre mora znati uskladiti s obrazovnim ciljevima i ishodima te s nastavnim planom i programom. Ne smijemo, međutim, zaboraviti da sudjelovanje u igri treba biti i užitak. U dva treća razreda Osnovne škole „Izidor Kršnjavi“ pripremili smo nastavni sat koji je uključivao učenje naziva namještaja na francuskom jeziku. U jednom smo razredu naučeno gradivo utvrđivali igrom „memory“, a u drugom su razredu učenici rješavali zadatke. Istraživanje je pokazalo da su učenici gradivo bolje usvojili kroz tradicionalnije metode, ali su rezultati bili slični. Ipak, razred koji je učio vokabular kroz igru postigao je bolji postotak riješenosti. Možemo zaključiti da igra ima potencijal u učenju francuskog kao stranog jezika ako prepoznamo njezine vrijednosti i ako je znamo prilagoditi ciljevima, ali i dobi i intelektualnim sposobnostima učenika.L'homme utilise les jeux depuis l'Antiquité pour connaître le monde qui l'entoure et pour se divertir. Bien que la valeur éducative du jeu ait été remarquée à l'époque de l'Humanisme et de la Renaissance, l'intérêt pour le jeu pédagogique dans la didactique des langues n'a augmenté qu'au cours des trente dernières années. Toutefois, la théorie concernant le jeu en tant qu’outil pédagogique reste encore marginalisée. De nos jours, le jeu est généralement utilisé comme récompense lors de cours de langue étrangère à la fin de l'année scolaire. Dans ce mémoire de master, nous avons cherché à savoir si le jeu est un bon outil d’enseignement pour l’acquisition de la compétence lexicale. Le jeu a été utilisé en raison de ses nombreux avantages : motivation intrinsèque des élèves, concentration sur la tâche, encouragement de la communication, prise d'initiatives, développement de la pensée logique, observation, expression et esprit critique.
L’enseignant doit diriger le jeu, voire définir clairement les règles et les objectifs du jeu qui doivent être en accord avec le programme scolaire. Mais nous ne devons pas oublier que la participation au jeu devrait être également un plaisir. Dans les deux troisièmes classes de l'école élémentaire "Izidor Kršnjavi" nous avons préparé un cours dont l’objectif a été d’apprendre le vocabulaire des meubles en français. Dans une classe, le matériel appris a été consolidé par le jeu de mémoire tandis que dans la deuxième classe les élèves ont fait des exercices. La recherche a montré que les élèves ont mieux appris les mots à l’aide des méthodes plus traditionnelles. Cependant, les résultats étaient similaires et la classe qui a appris le vocabulaire à travers le jeu a obtenu les meilleurs notes. Nous pouvons conclure que le jeu a le potentiel dans l’apprentissage du FLE si nous reconnaissons ses valeurs et si nous pouvons l'adapter aux objectifs, mais aussi à l'âge et aux capacités intellectuelles des apprenants