Digitalni arhiv Filozofskog fakulteta u Zagrebu
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Razvoj sela u srednjem vijeku
No full textSelo je u srednjem vijeku, posebice prije intenzivnijega razvoja gradova i tržišta bilo osnovna poizvodna jedinica društva. Srednjovjekovno društvo u najgrubljim se crtama dijeli na svećenstvo, plemstvo i seljaštvo, a upravo su pripadnici tog trećeg staleža bili nositelji najvećega dijela ekonomije u srednjemu vijeku. Unatoč uvriježenome stavu o statičnosti seljačkoga društva i sela općenito, dijelom i zbog manjka povijesnih izvora za ranija razdoblja srednjeg vijeka, promjene koje su se zbivale tijekom toga povijesnog razoblja uvelike su utjecale na razvoj sela i seljaštva u svim njegovim segmentima. Seljaštvo je bilo ona skupina društva na koju su najviše utjecale političke, vremenske i klimatske prilike tijekom godina jer su izravno utjecale na njegovu egzistenciju, a istovremeno ono nije bilo u mogućnosti oduprijeti se tim čimbenicima destabilizacije.Možda se najveća promjena dogodila upravo u samoj svijesti seljaštva o vlastitoj egzistenciji i svome doprinosu cjelokupnome društvu. U XIV. i XV. stoljeću pobune seljaka izašle su izvan lokalnih okvira, bile su uzrokovane socijalnim zahtijevanjima i očekivanjima te otporu prema autoritetima. Naravno da se plemstvo nije lako predavalo te je pokušalo zadržati stare povlastice i prava.Stalež seljaka i dalje je bio u najtežem položaju ako se promatraju njihove obveze i odnosi prema ostalim društvenim skupinama. Bilo bi pogrešno tvrditi da su plemstvo i građani bili zainteresirani za ekonomsko ili drugačije poboljšanje seljaštva. Ponekad su svojim intervencijama podilazili seljaštvu, ali uvijek to dobro dozirajući, kako ne bi naškodili vlastitome položaju. Selo je ipak cijeli srednji vijek ostalo glavna proizvodna jedinica, posebno što se poljoprivredne proizvodnje tiče te je uspjelo u obavljanju toga zadatka
Promjene u kulturi stanovanja u Brodskoj pukovniji u 18. stoljeću
No full textPred kraj 17. stoljeća, nakon dugotrajnih ratova, vojni i gospodarski potencijali Habsburške Monarhije i Osmanskog Carstva bili su iscrpljeni. Tako su mirovni ugovori potpisani u Srijemskim Karlovcima 1699. godine, u Požarevcu 1718. te u Beogradu 1739. godine djelomično prekinuli neprijateljstvo između ove dvije svjetske veselile. Slavonska vojna granica, kao dio Habsburške Monarhije, nastaje u 18. stoljeću, kao bedem od provala Osmanlija i zaštita od kuge i drugih bolesti.Za vrijeme carice Marije Terezije, Monarhija pokušava unutrašnja razgraničenja u Slavoniji do kraja srediti. Značajnije razgraničenje dogodilo se 1747. godine kada su na prostoru Granice formirane tri pješačke pukovnije: Gradiška, Brodska i Petrovaradinska te dvije husarske: Slavonska i Srijemska. Brodska pukovnija ustrojena je kao sedma od jedanaest pukovnija sa središtem u Vinkovcima, a ime je dobila po vojnoj tvrđavi u Brodu na Savi.Državna je vlast uvidjela da do promjena može doći jedino uz nadzor nad svojim stanovništvom, što je zbog raštrkanosti do tada bilo nemoguće.Osim profanih, 18. stoljeće bilo je prekretnica i za izgradnju sakralnih objekata, pa tako crkve, kapelice, groblja i ostala znamenja vjere dobivaju novi izgled. Sve ovo gradili su graničari kao dio obavezne rabote. Zbog toga je svakodnevica graničara bila teška. Utjehu od takvog militariziranog načina života, stanovnici Granice tražili su u zajedničkim okupljanjima, divanima i prelima što s kosilo sa strogom vojnom stegom koja je bila vidljiva kroz tjedna čitanja zapovijedi u satnijama i pukovnijama
Dubički rat bez cenzure: između iskustva i reprezentacije
No full textU ovom radu nastoji se komparirati različita viđenja Dubičkog rata, posljednjeg sukoba Habsburške Monarhije i Osmanskog Carstva u 18. stoljeću, koji je trajao od 1788. pa sve do 1791. godine, kada je završio potpisivanjem Svištovskog mira. Prisutni su pogledi Habsburške Monarhije i Osmanskog Carstva kroz ljetopise i tradicionalna historiografska djela, ali i pogled kajkavskog književnog kruga zastupljenog u spjevu Gregura Kapucina, kao i štokavski oblici graničarske epike nastali djelovanjem narodnih pjesnika. Na taj način, rad promatra jedan povijesni događaj na tri razine: osobno-graničarskoj, izvještajno-građanskoj i historiografskoj sa odmakom. Rad se zbog svojeg komparativnog pogleda temelji uglavnom na objavljenim izvorima, a analitička struktura i aparat usmjereni su na reprezentacijske modele i komparativno književni diskurs. Dubički rat je svojim izrazito krvavim ishodom označio početke različitih povijesnih kontinuiteta i diskontinuiteta, kako na globalnom tako i na lokalnom planu. Osim toga, rat je u historiografiji poznat kao rat koji nije donio veće teritorijalne dobitke unatoč višestruko jačoj vojnoj sili, koju je Habsburška Monarhija angažirala. Rad također obrađuje položaje Rusije i Prusije, kao interesnih strana koje su na geopolitičkom planu bile pokretači ovoga rata. Također, u ovome se radu književna djela promatraju kroz prizmu predmoderne propagande, te se prilagođenim modelima 20. stoljeća, pokušava razlučiti propagandno od informativnog djelovanja samih djela. Osim globalne razine, rad se bavi i lokalnom poviješću, te u razdoblju vladavine Josipa II. pokušava iščitati i lokalne, interese hrvatskih zemalja u široj političkoj slici Habsburške Monarhije, kao i položaj zemalja Balkanskog poluotoka pod utjecajem Osmanskog Carstva.The goal of this master's thesis is to compare different historical views on the last Austro-Turkish war that lasted from 1788 to 1791, when it ended with the Treaty of Sistova. Through traditional historiography and through the use of annals, but also on rarely used source kajkavian epic poem by Gregur Kapucin and epic poems of frontiersmen this master thesis is trying to find out is there in a specific overlap something new to be found. In a way, the axis of master thesis work on a three levels: a) personal one of frontiersmen, b) Zagreb citizen/cleric point of view of war far away from him; and finally c) historic one of modern day historians. Based primarily on the published sources due to the comparative nature of the thesis, it also heavily relies on representation theories and mutual connections between the representation and historical experience. Although war itself ended with heavy casualties, it wasn't remembered in common historical memory as succsessful due to its minor territorial engrandisment. It was remembered as shameful war, that even through greater numbers of Habsburg Empire couldn't lead to the victory and taking of Bosnia and Serbia. For a deeper understanding of the geopolitical situation in 18th century, this master thesis also focuses on Russian and Prussian policies on retaining a geopolitical status quo that lead to the war itself. There is also use of enhanced and adjusted models for detection of theoretical propaganda in the epic poems that this thesis relies upon. Also, as a part of Croatian historiography, thesis focuses on the continuity of Croatian noble struggle for their rights and shifting toward the Hungarian centre of interest. Being comparative this thesis does the same analysis for other Balkan peninsula nations to become that are under the influence of Ottoman imperial power
Zur Rolle des Nibelungenliedes in der deutschen Geschichte und seine Didaktisierung im DaF-Unterricht
No full textIn der Diplomarbeit „Zur Rolle des Nibelungenliedes in der deutschen Geschichte und seine Didaktisierung im DaF-Unterricht“ wird die Geschichte, Rolle und Rezeption des Nibelungenliedes, sowie seine Integrierung in dem DaF-Unterricht dargestellt.
Der erste Teil der Arbeit fokussiert sich auf die Fragen zur Entstehung und Verbreitung des Nibelungenliedes, sowie seiner Rolle in verschiedenen Zeitepochen der deutschen Geschichte, nämlich im Mittelalter, Romantik und Nationalsozialismus. Dazu wird auch auf heutige Funktion des Epos eingegangen, wobei das Nibelungenlied mit verbundenen historischen und mythologischen Themen der touristischen Vermarktung dient.
Im zweiten Teil der Arbeit wird das Nationalepos mit Themen, die den heutigen Schülern interessant sein können, in Verbindung gebracht. Es werden Gründe zum Gebrauch des Nibelungenliedes im Unterricht erläutert. Danach wird das Nibelungenlied als Unterrichtstoff für den DaF-Unterricht im kroatischen Hochschulsystem vorgezeigt
Ivo Pranjković and the Cultivation of Language
No full textČlanak se bavi radovima Ive Pranjkovića posvećenima kulturi hrvatskoga standardnoga jezika. U središtu je pozornosti Pranjkovićeva kritika destabilizacijskih utjecaja na standardni jezik, uzrokovanih s jedne strane srpskom jezičnom politikom, a s druge novijim nastojanjima da se hrvatski izmijeni kako bi se što više razlikovao od srpskoga. Kao najvažnija se Pranjkovićeva zasluga ističe pozivanje na racionalan pristup jezičnoj kulturi utemeljen na istraživanju suvremene uporabe.The paper deals with Ivo Pranjković’s contribution to the cultivation of standard Croatian.
The focus of the analysis is on his criticism of the destabilizing influences on the standard
language, exerted on the one hand by the Serbian language policy, and on the other by
the more recent domestic radical attempts to reform the codification of standard Croatian.
It is emphasized that Pranjković’s major contribution to the language cultivation is his
insistence on the rational approach based on the study of contemporary language use
What time is happiness in? The relationship between time perspective and subjective wellbeing
No full textUloga vremenske perspektive u svakodnevnom doživljavanju i ponašanju još uvijek je nedovoljno istražena. Cilj ovog istraživanja bio je ispitati njenu povezanost sa subjektivnom dobrobiti pojedinca (zadovoljstvom životom, ugodnim i neugodnim emocijama). Istraživanje je provedeno online, na uzorku od 424 sudionika u dobi od 19 do 29 godina. Dobiveni rezultati pokazuju da su povezanosti prošle pozitivne, prošle negativne i sadašnje fatalističke vremenske perspektive s mjerama subjektivne dobrobiti u skladu su s pretpostavkama Zimbarda i Boyda (2008) o optimalnim razinama pojedinačnih vremenskih perspektiva. Povezanosti sadašnje hedonističke i buduće vremenske perspektive sa subjektivnom dobrobiti razlikuju se ovisno o aspektu subjektivne dobrobiti koji mjerimo.
Kako i ranija istraživanje pokazuju nedosljedne nalaze za ove dvije vremenske perspektive, njihovu povezanost sa subjektivnom dobrobiti potrebno je dodatno istražiti. Također, dobiveni rezultati pokazuju da udaljenost od uravnotežene vremenske perspektive, temeljena na pretpostavkama Zimbarda i Boyda (2008) o optimalnim razinama pojedinih vremenskih perspektiva, značajno doprinosi objašnjenju varijance zadovoljstva životom, ugodnih i neugodnih emocija, čak i nakon kontroliranja utjecaja demografskih karakteristika.The role of time perspective in everyday experience and behaviour is still insufficiently explored. The aim of this study was to examine its relationship with subjective well-being(satisfaction with life, pleasant emotions and unpleasant emotions). The research was conducted online, on a sample of 424 participants aged 19 to 29. The results of this researh show that correlations of past positive, past negative and present fatalistic time perspective
are in line with the assumptions of Zimbardo and Boyd (2008) about optimal levels of each time perspective. The relationship between present hedonistic and future time perspective with subjective well-being depends of the aspect of subjective well-being measured. The previous research of this two time perspectives also shows inconsistent findings suggesting that their role in subjective well-being needs to be further examined. Results also show that the distance from a balanced time perspective, based on the assumptions of Zimbardo and Boyd (2008) about the optimal levels of particular time perspectives, significantly contributes to the explanation of the variance in life satisfaction, pleasant and unpleasant emotion, even afrter controling demographic caracteristics
Varšava u romanima Tadeusza Konwickog
No full textU ovom radu naslova „Varšava u romanima Tadeusza Konwickog“ analiziraju se romani Uzašašće (Wniebowstąpienie), Poljski Kompleks1 (Kompleks Polski) i Mala Apokalipsa (Mała Apokalipsa). Stil T. Konwickog izrazito je osoban, ne samo zbog autobiografskih elemenata koje uklapa u svoja djela već i zbog britkog načina opisivanja tog svijeta koji izvrće i dovodi do stanovitog apsurda dok nas u isto vrijeme nasmijava i tjera na preispitivanje života. Varšava kao glavni grad, zbog svoje simboličnosti, T. Konwickom služi kako bi
njezinim stanjem, kao i stanjem njezinih stanovnika, pokazao opće stanje u državi. Zbog toga glavni grad nerijetko postaje i metafora za režim. Univerzalno poistovjećivanje mikrokozmosa grada s makrokozmosom države dobiva još veće značenje kada T. Konwicki u
prostor Varšave unosi elemente iz svog rodnog grada Vilniusa. Iako je tadašnja atmosfera u Varšavi potencirana u tim trima romanima, oni nedvojbeno svojim opisima prostora glavnog grada i njezinih stanovnika
stvaraju stanovitu sliku tadašnjeg stanja u PRL-u koja se očituje u kaosu gospodarstva, stanovnicima koji su bezvoljni i letargični jer osjećaju da ne mogu ništa promijeniti pa se zato i ne trude ili ukratko T. Konwicki u svim trima romanima bilježi degradaciju i raspadanje režima koji nije zasnovan na dobrim temeljima
The application of the theory of conceptual integration to illustrated blends
No full textRad se bavi analizom stopljenica primjenom teorije konceptualne integracije. I stopljenice i teorija konceptualne integracije svojevrsne su novosti u lingvistici. Stapanje je rječogradni postupak koji je u posljednje vrijeme postao izrazito plodnim, a teorija konceptualne integracije, iako je s razvojem počela u 1990-im godinama, svoje korijene vuče desetak godina prije toga, od 1980. godine kada je, objavom već sada kultne knjige Metaphors We Live By, uspostavljena teorija konceptualne metafore. Iako je teorija konceptualne integracije relativno mlada, pokazalo se da ima određene prednosti u odnosu na teoriju konceptualne metafore – tumačenje jezičnih i nejezičnih ostvarenja, metaforičnih i nemetaforičnih izraza te konvencionalnih i inovativnih metafora, njezinim se dinamičnim pristupom utemeljenim na umnim prostorima podrobnije opisuju preslikavanja i stvaranje novoga značenja.
U prvomu dijelu rada najprije se kratko predstavlja teorija konceptualne metafore, koja je, dijakronijski gledano, nastala u 1980-im godinama i svojim ustrojem, hipotezama, ali i slabim mjestima, postala temeljem i poticajem za stvaranjem nove, složenije i dinamičnije teorije konceptualne integracije u 1990-ima. Nakon opisa teorije konceptualne integracije prikazan je odnos dviju spomenutih teorija. U drugomu dijelu rada analizirane su stopljenice podijeljene u dvije skupine – stopljenice nastale stapanjem na leksičkoj i konceptualnoj razini (konceptualne stopljenice) koje stoga nose novo značenje i stopljenice nastale na leksičkoj razini (engl. puns). Pri analizi stopljenica u obzir je uzet neverbalni, slikovni dio – fotomontaža uz koju su stopljenice objavljene jer utječe na značenje.
Nakon zaključka, na samomu je kraju navedeno trinaest stopljenica izdvojenih iz Hrvatskoga rječnika stopljenica.The paper deals with the analysis of blends by applying the theory of conceptual integration. The first part of the paper covers the theory of conceptual metaphor, which was established in 1980's and used for its structure, hypothesis' and weak spots to create new, more complex and dynamical theory of conceptual integration in 1990’s. After the description of the theory of conceptual integration, the two theories are compared. In a second part of the paper, the analyzed blends are separated in two groups – blends that emerge at both formal and conceptual level (conceptual blends) and thus bear a new meaning and blends that emerge solely at the formal level (puns). When analyzing the blends, the non-verbal, pictorial element – photomontage was taken into consideration as it plays an important part in the construction of meaning. After the conclusion, at the very end of this paper, thirteen blends collected from Hrvatski rječnik stopljenica are listed
Monographic study of the artistic oeuvre of Tošo Dabac
No full textPočetak profesionalne karijere Toše Dabca (Nova Rača, 1907. - Zagreb, 1970.) vezan je uz film.
Kao voditelj propagande i prevodilac radi najprije u filmskom poduzeću Fanamet (od 1927.
godine), a zatim u zagrebačkoj podružnici MGM-a, u kojoj je uređivao i glasilo Metro Megafon.
Godine 1929. Dabac je režirao igrani film Vodica za kurajžu. Fotografski je dokumentirao
snimanje nekoliko filmova. Dabčev susret s filmom i filmskom fotografijom predstavljao je
važan početak za razumijevanje likovnih elemenata, a zajednički kulturni krug, koji se stvorio u
međuratnom Zagrebu, omogućio je razmjenu informacija, znanja i ideja između fotografskih i
filmskih autora.
Početkom 1930-ih godina Tošo Dabac počinje raditi kao fotoreporter te ga smatramo jednim od
najvažnijih fotoreportera u Hrvatskoj. Angažman u dnevnim novinama potaknuo i nastanak
Dabčevog najpoznatijeg fotografskog ciklusa Ljudi s ulice. Dabac svoj fotoreporterski i
dokumentaristički rad nastavlja i u Nezavisnoj Državi Hrvatskoj kao i u prvim godinama
Jugoslavije, kada surađuje i s vladinim agencijama.
Godine 1933. Tošo Dabac se učlanjuje u Fotoklub Zagreb i počinje izlagati po čitavom svijetu na
amaterskim izložbama, ali i velikim međunarodnim izložbenim projektima.
U jugoslavenskom razdoblju Tošo Dabac je jedan od najangažiranijih i najsvestranijih fotografa.
Radio je na brojnim državnim projektima i snimao po svim predjelima Jugoslavije pejzaže,
narodne običaje, kulturne spomenike, izgradnju države, industriju, arhitektonske objekte, djela
suvremene umjetnosti i umjetnike. Kruna njegovog rada bila je retrospektivna izložba, održana 1968. godine u Muzeju za umjetnost
i obrt u Zagrebu.In order to understand the complete oeuvre of Tošo Dabac (Nova Rača, 1907 - Zagreb, 1970)
and his role in the history of Croatian, as well as world photography and art, it was necessary to
take into account all the fields in which he acted, as well as the objective political circumstances
that constituted the framework for his creation. Unlike previous individual analyses which
focused on a particular topic, interest or distinctive period of his activity, this work encompassed
all types of photographic and other artistic activities that Tošo Dabac worked on, and which so
far have been completely unknown to many. Interdisciplinary approach, applied in this work,
apart from the history of photography and art history, included early history of film and film
theory, history of Croatian film, history of photography, history of Croatian journalism,
mechanisms of political propaganda, photo-amateurism and professional photography.
In all these aforementioned areas, this work introduced new knowledge and new insights. With
this work, Dabac's rich and varied activities is also observed in the context of historical, sociopolitical circumstances in which it was created, that is, through the specificities of the three state
arrangements in which Dabac lived and worked. Using this approach, the basic precondition is
set for understanding Tošo Dabac’s work in all its complexity of activities. Namely, since Dabac
had been engaged throughout his working life by various state offices, promotional services and
the media, it is impossible to understand his professional work solely on the basis of his formal
and stylistic features. The beginning of Tošo Dabac professional career of is related to film.
Dabac started his career as propagandist and translator in the Fanamet film industry in 1927, and
then worked on the same functions in the MGM branch in Zagreb, where he edited the periodical
Metro Megafon. In 1929, Dabac directed the film Vodica za kurajžu, which was screened in
Zagreb cinema Europa Palace, on which the filmmaker was Sergije Tagatz. The photographer
documented the recording of several films, and stills were attributed on the following ones:
featuring recordings: Ples u prirodi (Oktavijan Miletić, 1935), Barok u Hrvatskoj (Oktavijan
Miletić, 1942) and Zastave (Branko Marjanović, 1949).
It was Dabac's encounter with film and film photography, with the media itself in each segment,
both in practice and in theory, that represents the important beginning for understanding his
visual elements, rules of composition, and lighting, and gaining a sense of drama in image. The
common cultural circle that was created in the interwar period in Zagreb enabled the exchange of information, knowledge and ideas between photographic and film authors, who posed questions
and questioned the boundaries of the media they dealt with. It was this openness that made it
possible for Dabac to get closer to the poetics of New Vision, which he never left entirely, and
which is also visible in Dabac's work in the period after World War II.
At the beginning of the 1930s, Tošo Dabac began working as a photojournalist. He mostly
collaborated with the daily newspapers Novosti and Večer and Radio Zagreb magazine, where he
published photo reports and individual photographs. Photographs depict city scenes, reports of
various events in Zagreb and its surroundings or social themes. Dabac began his photographic
career as a photojournalist at the time when the photo reportage was established as a form of
media communication, so he actively participated in its formation and can be considered one of
the most important photo-reporters in Croatia.
Additionally, the engagement in the daily newspaper prompted the creation of the Dabac's cycle,
called the People from the Street (Ljudi s ulice), whose individual photographs were originally
published in daily newspapers Večer and Novosti, and inspired him to further "explore" the life
of the street and later the life of the people, which remained his dominant preoccupation.
In 1933, Tošo Dabac joined the Zagreb Fotoklub, and he would exhibit for the first time next
year at the photo exhibition in the small Croatian town of Ivanec. The following year he
exhibited on the international exhibition Second Philadelphia International Salon of
Photography, alongside Henri Cartier - Bresson, Margaret Bourke-White, László Moholy-Nagy
and Paul Outerbridge. He continued to exhibit until the beginning of the Second World War on
numerous domestic as well as significant international exhibitions. He also actively participated
in the work of the Club.
Furthermore, Dabac's photo journalist and documentary work in the Independent State of Croatia
as well as in the early period of the new Yugoslav state indicates that Dabac was the author who
worked in all three political systems uninterruptedly, but when the opportunity presented itself,
he was critical to all ideologies. In the period of Independent State of Croatia, in which about the
work of Dabac, as well as the history of Croatian photography in general, is least written, there is
continuous photographic activity, primarily in the service of state and state propaganda, in which
Dabac played an active role. Dabac's reputation as a photographer and an author was also confirmed by his participation, as
well as initiation, in several cultural projects and monographs. During the Second World War,
Dabac worked as a regular contributor to Radio Zagreb, Croatian illustrated periodical and the
official herald of Zagreb radio station, which was renamed to Hrvatski krugoval with the
establishment of the Independent State of Croatia. He also collaborated with government
agencies Promičba and Svjetlopisna služba. At the beginning of the 1940s, international
exhibition practice continued, however, in this period it was mostly limited to the Axis countries.
The new Yugoslav state brought new tasks and new topics, while Tošo Dabac became one of the
most influential and in every respect of the most versatile photographers of that period. He
actively participated in the equipping Yugoslav stands and pavilions at international World fairs
and exhibitions, which were the first state-sponsored apparatus, which speaks of his reputation
and trust enjoyed by state institutions and leading architects of that time. He worked on
numerous national projects, and recorded in all parts of Yugoslavia. His works were also the
bearers of numerous art monographs related to the cultural history of the country. He
photographed new architectural objects and documented works and appearances in contemporary
art and thus created an invaluable source for all the other explorers.
In parallel, he was interested in trends in contemporary art photography, which led to the
participation in two major travel exhibitions of humanist sign, Das menschliche Antlitz Europas
and Weltausstellung der Photographie: Was ist der Mensch.
The crown of his work was a retrospective exhibition, held in 1968 at the Museum of Arts and
Crafts in Zagreb.
After exploring all areas of Tošo Dabac's work, as well as a large range of his interests, one can
conclude that always in his focus was a human being. A man as an individual, or a man as a
symbol of time as a dynamic category, or a symbol of space, as a category of duration. Or, if we
look at the perspective, what Dabac records with his analytical mind are signs of the same time
and space that speak of the invincibility of man's destiny, the indestructibility of the insistent
element, irrespectiveness of the political system, ideology, modernization, construction or
collapse. Of course, Tošo Dabac in totality created a very important historical documentwith his oeuvre.
However, this historical document is the result of his independent view, and perspective of the
intellectual and artist of highly-developed aesthetics, analyst, empathic participant and cynical
critic
Uporaba formulaičnih izraza u nastavi engleskoga jezika u srednjim školama
No full textFormulaic sequences are essential for the students who are learning English to sound fluently. This thesis focuses on the types and frequency of formulaic expressions used in English as a Foreign Language (EFL) classroom. Although the field of formulaic language has already been researched, it has not yet been profoundly explored or measured in the context of Croatian high schools, especially in a rather spontaneous discourse and non-influenced classroom conditions. Besides dealing with extensive classification and exposition of the most frequent types, this thesis aims at displaying some of the mistakes that students make when they use formulaic expressions as well as some strategies they employ to cope with communicative demands. The results have shown that, overall, the students mostly rely on lexical bundles, collocations and inserts, since they still have more confidence in using expressions with literal than idiomatic meaning. Various activities and forms of class structure are also mentioned as proven to lead to greater formulaic use; however, formulaic expressions are still on their path of receiving sufficient attention in foreign language instruction