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Perception of ancient Egypt in film
No full textOdnos kinematografije i teme starog Egipta mijenjao se s razvojem filma kao medija. Utjecaj politike i cenzure, ali i pojedine producentsko-scenarističko-redateljske preokupacije filmski su stari Egipat često drastično odmicali od povijesne istine i arheološke utemeljenosti. Problematici prikaza starog Egipta na filmu pristupa se iz više očišta: historiografskoga, filmološkoga i egiptološkoga. Od njezine propasti pa sve do danas, svaka je zapadna kultura nudila vlastiti pogled i viziju onoga što je staroegipatska civilizacija nekad bila i što danas predstavlja. Grčki, rimski, srednjovjekovni, arapski, renesansni i barokni pogled izravno su oblikovali sve buduće filmove o starom Egiptu. One se analiziraju kao teorijski kontekst budućih filmova, a njihovi narativi kao praslike budućih scenarija. Champollionovim dešifriranjem hijeroglifskog pisma omogućen je napokon i izravan uvid u staroegipatski jezik i pisane izvore. Velika arheološka otkrića, koja nakon višestoljetnih pljački započinju u drugoj polovici 19. stoljeća, dodatno su oblikovala scenografsko-kostimografski izgled svakog budućeg filma s temom starog Egipta. Scenaristička podloga ovih filmova inspirirala se religijskim i faraonskim ceremonijama, kao i korpusom antičkih, ali i gotičkih romana. U tome se, pak, kontekstu analiziraju sačuvani nijemi filmovi s posebnim naglaskom na utjecaj egiptomanije ali i onoga što filmski teoretičari nazivaju mumijinim kompleksom. Povijesni pregled ovog žanra postavljen je unutar šireg okvira filmova o starom svijetu, dok je onaj cjelovitiji dan u trećem dijelu disertacije, u kojem se s egiptološke strane analiziraju pojedini filmovi, motivi i kinematografske pojave. Svi ovi kinematografsko-povijesni aspekti pokazali su kako se razvijao, mijenjao i transformirao jedan od najpopularnijih pod žanrova povijesnog filma uopće – onaj filmova o starom Egiptu. Provedeno istraživanje nudi i matricu koja može pomoći analizirati sve takve filmove, ali i anticipirati predstojeće filmove te tematike. Disertacija također nudi odgovor na pitanje kako su društveno-političke promjene utjecale na prikaz starog Egipta na filmu te kako je on korespondirao sa svojim neposrednim kontekstom. Pratio se, stoga, razvoj prikaza starog Egipta na filmu a nudi se i odgovor na pitanje zašto su baš oni bili svojevrsni test filmskih sloboda u borbi s cenzurom. Multidisciplinarnom analizom (povijest, egiptologija, filmologija) izvora i stila samih filmova, istražila su se i redateljsko-scenaristička rješenja i umjetničke preokupacije, često udaljene od staroegipatske uljudbe u cjelini. Zaključno se utvrđuju i razlozi zbog kojih je povijesno-arheološki točan prikaz staroegipatske civilizacije na filmu - nemoguće stvoriti.Almost three and a half millennia have passed between 1323 BC, when small alabaster lamp was designed to project painted scene from its inner cup to the outer one, and its discovery in Tutankhamun’s tomb in 1923. In that enormous time several civilizations have embedded its own perception of ancient Egypt with their own stories, epics, drama and poetry, sculptures and paintings. The Greeks were the first, with their myths and epics but above all so-called Greek novels. It was precisely they that formed the first narratives about ancient Egypt that dealt with adventure, exotic, erotic and mystical. The Romans continued immortalizing Cleopatra (or rather hear death) more than anybody else. What was designed to be propaganda against her, transformed into the creation of a new cult-in-the-making. Early Christian writers did their best to paint ancient heathen civilization with negative tones but, unavoidably, they managed to preserve stories that will also play integral part in century-latter emergence of cinema – and subsequently popularize her. Arab conquest brought myriads of legends and stories that will define the perception of ancient Egypt until this day. Renaissance immersed itself into discoveries of ancient manuscripts and archaeological remains that added new information to the perception of a lost civilization. It was also for the first time that the ancient Egypt became popular thopos of popular books and legit intellectual sanctuary. The baroque imagination added to the Egyptian imaginarium with music, paintings and novels and, finally, after Napoleonic expedition, hieroglyphs were finally deciphered. This gave voice to the long silent civilization and Egyptomania ensued. Egyptology as a science began to develop parallel to the invention of cinema. This relationship between film and ancient Egypt changed as the film media developed. The influence of politics and censorship but also certain production’s, screenwriter’s and directorial preoccupations often detached ancient Egypt from the historical truth based on archaeological finds. The problematics of depiction of ancient Egypt in the cinema is approached from multiple viewpoints: that of historiography, film history and Egyptology. From its decline, every civilization offered its own perception and vision of what ancient Egypt was and should represent today. Greek, Roman, medieval, Arabic, renaissance and baroque insight directly formed all the future films about ancient Egypt. They are analysed as a theoretical context of those future films while their narratives serve as a proto image of future screenplays. The big archaeological discoveries of the second half of XIX. century, that are commencing right after centuries of looting, helped in forming an art-direction form of every film with our topic. Screenplays of those film was directly influenced by religious and pharaonic ceremonies and ancient and gothics novels alike. It is in this context that the preserved silent films are analysed with special emphasis of the influence of egyptomania and the phenomenon known in film theory as a mummy complex. One of the first authors to deal with the newly revealed ancient Egypt was Théophile Gautier, who created an appropriate literary matrix, bringing the ancient Egyptian dead to life. Edward Poynter’s 1867 painting Israel in Egypt and the 1865–1904 works of Lawrence Alma-Tadema were similarly impactful on Victorian society. The latter’s works literally set the stage for almost every future film that delved into ancient Egypt. Around the same time, Hector Horeau began painting so-called fantasies, in which he added his own personal visions to the existing archaeological matrix, thus creating oneiric depictions of ancient Egypt. His technique has subsequently been used by every film production designer down to the present day. However, no matter how precise painting became over time, it eventually had to make way for an attractive novelty which appeared in 1839: photography. Half a century later, motion pictures appeared. Just a month after the first film screenings in Germany and France, on 5 November 1896 Henry Dello-Strogolo showcased the first projected motion pictures of the Lumière brothers in one of Tusun Pasha’s auditoria in Alexandria. One of the most prominent of Lumieres’ employees, Alexandre Promio, spent time in Egypt between 9 March and 18 April 1897. For the first time ever, he captured Alexandria and Cairo on film, together with their pharaonic remnants. Promio was also the pioneer of feature films with an Egyptian background. In 1898, he shot La vie et la passion de Jésus-Christ/The Life and Passion of Jesus Christ, directed by Louis Lumière. The surviving part of this 15-part film depicts the flight of the Holy Family to Egypt, in a visual style that derived directly from an 1880 painting by Luc Olivier Merson of the same subject and emphasises the knowledge and interest in ancient Egypt derived from the Bible. The genre of ancient Egypt on film was born. It was Georges Méliès who began using numerous Egyptian motifs that same year, directly borrowing from popular literature of the late nineteenth century. Following his footsteps, Walter R. Booth, the pioneer of British film showed in 1901 how ancient Egypt could be brought to life on screen with the help of a rudimentary special effect. Filmmakers in both Italy and France were heavily inspired by Biblical stories so the protagonists of these successful films included Moses, Joseph and Jesus Christ, although the role of Egypt was limited to providing the setting. Classical music also became a source of inspiration for both Italian and American versions of Aida. Not all film plots incorporated stories familiar to the audience. Some of them are particularly interesting precisely because of their departure from the expected. Gaston Velle made Isis for Pathé Frères in 1910; a film about Thyrsa, a worshipper of Isis, followed by Au temps des Pharaons, a tale of the unrequited love between the pharaoh Rameses and a Syrian woman named Elissa. In the same vein, L’Anneau Fatal (1912) by Louis Feuillade recounts the story of Napoleonic soldiers who discover a mummy in Egypt. The Italian film La sposa del Nilo (1911) dealt with Arab story of a virgin sacrificed to end the drought in pharaonic Egypt. Its director, the painter Enrico Guazzoni, took direct inspiration from a painting by the Lombard artist Federico Faruffini entitled Il sacrificio della vergine al Nilo (1865). The second of Guazzoni's dozen silent blockbusters, Marcantonio e Cleopatra (1913), was an interesting blend of his original screenplay with the works of Plutarch and Shakespeare and the propaganda of the Italo-Turkish War of 1911–12, fought in Libya. Eight more Cleopatra films were produced between 1899 and 1918 and that demonstrates the immense popularity this screen character. Especially important was 1917. Celopatra with Theda Bara, the first film of our subject that entered and won the battle with the censorship. Thaïs, a 1917 film adaptation of Anatole France’s novel, had the same battle-a and lost. However, it was cinema expressionism that was changing the genre. In Kalida’a, la storia di una mumia (1917), all the motifs were present: mysticism, an archaeologist and a beautiful female mummy coming to life. It was in Germany where expressionism flourished in the crises that arose in the wake of defeat in the First World War. Its main characteristics, a personal experience of the world and interest in the exotic, the subconscious and the occult, blended well with perceptions of ancient Egypt. Most of the numerous Egypt-inspired films have unfortunately been lost, and their rich variety of motives and content can be analyses from the secondary sources only. The surviving ones portray Orient as dangerous and exotic (Ernst Lubitsch’s Die Augen der Mumie Ma/The Eyes of the Mummy Ma), while Lubitsch’s next film, Das Weib des Pharao of 1921, entered ancient Egypt into the genre of big-budget historical epic. The discovery of the tomb of Tutankhamun in November 1922 launched the world into a fresh whirlwind of Egyptomania. It again fitted perfectly with the (still) expressionistic sentiment of the time: hidden treasure; an exotic pharaoh; the (allegedly) curious deaths of expedition members. Thus the ‘Curse of the Pharaohs’ was born, which immediately embedded itself in almost every subsequent film dealing with ancient Egypt. Tutankhamun was a lead character in, now lost, American The Dancer of the Nile (1923.), while French made in Austria the Raymond Dandy satire Tutankhamen. The same year Cecil B. DeMille premiered his first Ten Commandments, where epics confronted personal piety, and Europe answered with Michael Curtiz’s Die Sklavenkönigin/The Moon of Israel. The most expensive Austrian film in history, the film was a huge success, both at home and abroad but subsequent inflation shot down entire Austrian cinema production. Sound was introduced to our genre in the most interesting way: The Mummy, a horror from 1932. included several lines of dialogue in ancient Egyptian language (or, rather, its consensual pronunciation). This film, which was to be renamed from Imhotep to The Mummy, was an instant success because of Boris Karloff's rendition of both the mummy Imhotep and his alter-ego Ardath-Bey. The Mummy’s enormous success resulted in a series of sequels, versions and imitations, many of which did well at the box-office. Cecil B. DeMille made his version of Cleopatra in 1934, starring Claudette Colbert, and successfully avoided the harsh censorship of Hayes’s codex. In the end of the Second World War the British made their own take of the subject. Caesar and Cleopatra was the most expensive British film in history and starred Vivien Leigh. The budget at its disposal and set new standards for period film production, despite wartime handicaps. A decade earlier, in Nazi Germany, local scientific and political-ideological focus had shifted from antiquity to prehistory, with the Ahnenerbe established in 1935 to prove the supremacy of the Nordic race. In this context, Der Mythus des zwanzigsten Jahrhunderts, by the Nazi ideologist Alfred Rosenberg, had argued that the ancient Egyptian civilization, as an Aryan product, had been tainted by mixing with ‘inferior’ races. This ideological background generated a distrustful attitude towards ancient Egypt itself after the Nazi assumption of power. On the other hand, modern Egypt, still occupied by the British even after her nominal independence in 1922, was seen as something to cultivate as a potential ally against the British, as well for as its strategic possession of the Suez Canal – a gateway to the alleged cradle of the Aryan race, India. Egypt was also a locus for German anti-Semitic propaganda, via complex activities aimed at pushing its Muslim population towards Nazi ideology. However, all these propaganda activities ultimately failed. As part of this ideological wave, the terrace of the well-known Mena House Hotel at Giza was reconstructed at the studios of Bavaria Film in 1939. Here most of the plot of Germanen gegen Pharaonen takes place, revolving around a debate in front of a group of tourists, between an old Egyptology professor, a hook-nosed ‘pyramid mystic’ and an affluent Pan-Germanist. While the first calmly tells the tourists of the construction of the Great Pyramid as the tomb of King Khufu, the nervous and odious ‘pyramid mystic’ contradicts him, accusing him of deliberately ignoring evidence of the pyramids’ links to Atlantis. This is where the Pan-Germanist joins the discussion, to prove the supremacy of the Nordic over the ancient Egyptian race. Director Anton Kutter, known for basing his films on scientific debates, enriched the film with specially lit models of archaeological sites. Although the censors approved screening on 4 September 1939, the premiere was postponed by an entire year. This was owing to a visit by Germany’s Minister of Propaganda Joseph Goebbels’s to Egypt in April 1939, which had deeply impressed him. As a result, he felt uncomfortable with the anti-Egyptian chauvinist propaganda that underpinned the film, reinforced by the outbreak of the Second World War exactly five months later, meaning that currying favour with Egypt was even more of a priority, especially after the failure of attempts to return of Nefertiti's bust to Egypt and a fiasco surrounding the Arabic translation of Mein Kampf. The film finally premiered on 23 July 1940 in Munich, presenting a unique intertwining of state ideology, film and Egyptology. The end of the Second World War gave way to new forms of cinema spectacles. Colour, wide screens and an abundance of historical themes defined the era. From 1954. The Egyptian and The Valley of the Kings through 1955. Land of the Pharaohs and ending with The Ten Commandments (all four filmed partially in Egypt), cinema spectacle was populated with ancient Egyptian imagery. An unequalled effort and enormous amount of money was put into recreating archaeologically based props and scenery, resulting into often stunning results hailed by Egyptologists. In Europe, frequent American film productions in the Italian Cinecittà in Rome had made it almost impossible for Italian producers to shoot their own, much less expensive films there. Studio rentals and extra hiring fees, as well as the unavailability of the studios made them move production to Spain and, notably, Yugoslavia. This became the site of the rebirth of Maciste, Giovanni Pastrone’s legendary hero who was first brought to the screen in the controversial Gabrielle D’Annunzio’s 1915 Cabiria. Alongside Hercules, Ursus, Samson and Goliath, Maciste became an integral part of the exceedingly popular film genre known as ‘peplum’ or ‘sword-and-sandal’, a screen rendering of ancient history made with a fraction of the budget of their Hollywood models. Despite the lack of money, often-bad production design and acting, underscored by equally bad dubbing, peplums nonetheless filled box offices in both Europe and the US. The ‘Maciste’ filmed in Yugoslavia was Maciste nella Valle dei Re (Son of Samson for the Anglophone market). The filming of Maciste nella Valle dei Re began on 13 June 1960, the film set that was erected at Jadran Film in Zagreb used as much as 800m3 of timber for 12,000m2 of ‘ancient Egyptian’ structures, including pylons, obelisks, sphinxes and a settlement, recreating everyday life in Egypt at the time of the Persian invasion. Unfortunately, the film later garnered unfairly low ratings owing to its inadequate English dubbing and the distribution of exceptionally bad copies. However, Italy was not the only producer of peplums. Cheap ancient Egyptian films were also made in the American ‘dream factory’. Columbia pictures made a Technicolor Cleopatra film in 1953, under the title Serpent of the Nile and a year later Panoramic Pictures filmed Princess of the Nile. Two Italian films starring Sophia Loren were produced during 1953/54. The first was Aida, condensing Verdi’s opera and with Loren in the lead role and Renata Tebaldi in charge of the singing parts. The second film, the 1954 comedy Due notti con Cleopatra courted audiences with such things as a bathing scene with a naked Loren. Censors in many countries were alarmed, leading to numerous edits. Nevertheless, the film was a great success in American cinemas when it was distributed a decade later, just a few months before Elizabeth Taylor's Cleopatra premiered. More low-budget films followed, often inspired by Cleopatra, Nefertiti and Joseph. The Italians filmed Legioni di Cleopatra in 1959, La donna dei faraoni, the aforementioned Maciste nella Valle dei Re and Il sepolcro dei re in 1960, Nefertite, regina del Nilo and Giuseppe venduto dai fratelli in 1961, and finally Una regina per Cesare in 1962 and Il figlio di Cleopatra in 1964. Exceptionally expensive (Hollywood) films and (overly) cheap (mostly Italian) ones thus appeared side by side on cinema repertoires at the time. Audiences welcomed both with equal enthusiasm and were just a fraction of approximately two hundred equally successful films basing their narratives in the ancient world. In the UK, Hammer Films remade The Mummy and the film was met with great success, although labelled as “too frightening for small children”. As was the case in the thirties, The Mummy was again followed by sequels The Curse of the Mummy’s Tomb (1964.), The Mummy’s Shroud (1966.) and the most interesting, Blood from the Mummy’s Tomb (1971). The latter was an adaptation of Bram Stoker’s novel The Jewel of Seven Stars, who in turn would have several remakes – most notably The Awakening (1980.) and Bram Stoker’s Legend of the Mummy from 1998. Charlton Heston would star and direct in his 1972 Shakespearean adaptation of Antony and Cleopatra. Although not successful, visually film looked interesting since Heston reused outtakes from 1959 Ben-Hur and even 1963 Cleopatra. Few films in history have been as worshipped by audiences and as reviled by the film industry as Joseph L. Mankiewicz’s Cleopatra. An ill-fated filming process, which finally began on 25 September 1961, having moved from the UK to Italy, was accompanied by many cast changes, with only the star, Elizabeth Taylor, remaining in place among the leading players. Filming in Rome took an entire year. However, two further years would pass before the audience could see the film. Thus, in the meantime, unexpected versions of the Cleopatra-story surfaced. A little-known TV version of Anthony and Cleopatra, with silent film stars Buster Keaton and Gloria Swanson in the title roles appeared around this time. Una regina per Cesare, an Italian-French take on the subject, with the title role played by Pascale Petit, also emerged. The final, heavily re-edited Mankiewicz’s 4 hour and 3 minute Cleopatra was first screened on 12 June 1963 at the New York premiere, at the Rivoli Theatre on Times Square. Parody followed almost immediately. It was Carry on, Cleo, “the funniest film since 54BC”, as the film poster said. The extensive modern Egyptian film industry used ancient Egypt solely as a backdrop to modern plots until the 1950s. Then, in 1954, Youssuf Chachine presented his first Egyptian film shot in the Valley of the Kings to local film audiences, Sira‘fi-l-wadi/Battle in the Valley. Then, director Fateen Abdel Wahab used his 1963 Arouss el-Nil/Bride of the Nile to depict evil corporations which, bearing no respect for their own country’s heritage, decide to look for oil in the temple of Karnak, where the ghost of Queen Nefer-Set-Aton-ititi (Lobna Abdel Aziz) appears. In 1965, director Aly Reda filmed Gharam fi el-Karnak/Love in Karnak. In it, a group of young dancers from Cairo arrive to Luxor where they plan to hold a dance festival, which takes place at Deir el-Bahari. Both films attempted to remedy mass unawareness (and some cases denial) of ancient Egyptian history within modern Egypt – but in an entertaining way. Al-moomya/The Night of Counting of the Years, featur
Recycling aluminium from electrolytic capacitors in waste printed circuit boards
No full textBrzim razvojem tehnologije, elektronički i električni otpad (EE-otpad) je rastuća prijetnja koja
predstavlja značajan problem kontaminacije za čovječanstvo i okoliš.
Temeljni razlog nekontroliranog rasta količina elektroničkog otpada diljem svijeta je brz
napredak inovacija i niskih troškova proizvodnje elektroničke opreme. Zbog toga se moraju
odbaciti vrlo velike količine EE-otpada svake godine čije je zbrinjavanje veliki problem.
Za rješavanje ovog problema oko EE-otpada, metode gospodarenja EE-otpadom kao što su
ponovno korištenje, smanjenje i recikliranje otpada igraju ključnu ulogu. Ove tehnike također
pomažu u uspostavi kružnog gospodarstva.
U ovom diplomskom radu su prikazani potrebni zakoni i pravilnici za zbrinjavanje EE-otpada
te količina prikupljenog i obrađenog otpada u Republici Hrvatskoj u usporedbi s ostalim
zemljama Europske unije. U praktičnom dijelu prikazan je slijed tehnoloških postupaka
oporabe elektrolitskih kondenzatora u pogonu tvrtke koja je ovlaštena upravo za oporabu
takvog otpada. Tvrtka u kojoj je rađen praktičan dio rada, oporaba elektrolitskih kondenzatora
je Spectra-Media d.o.o., koja se nalazi u Donjoj Bistri, Krapinska ulica 62.Rapid development of technology, electronic and electrical waste (EE-waste) is a growing
threat that represents a serious contamination problem for humanity and the environment.
The root cause of uncontrolled waste increase of EE-waste around the world is the rapid
progress of innovation and low production costs of electronic equipment. Because of this, large
amounts of EE-waste must be discarded every year, the disposal of which is a huge problem.
To solve this EE-waste problem, EE-waste management methods such as reusing, reducing and
recycling play a key role. These methods also help to establish a circular economy.
This thesis deals with the necessary laws and regulations for the disposal of EE-waste and the
amount of collected and processed waste in the Republic of Croatia in comparison with other
countries of the European Union. In the practical part, the sequence of technological procedures
for the recovery of electrolytic capacitors in the company's plant, which is authorized for the
recycling of such waste, is presented. The company where the practical part was done is
Spectra-Media d.o.o., located in Donja Bistra, Krapinska Street 62
An intellectual history of Croatian modern architecture in Zagreb (1900-1980)
No full textIntelektualna povijest kao zasebna povijesna poddisciplina je u zapadnoeuropskoj i angloameričkoj historiografiji prisutna još od 1940-ih godina, kada je američki filozof i povjesničar Arthur Lovejoy (1940.) pokrenuo časopis Journal of the History of Ideas. Od početnog temelja povijesti ideja, intelektualna povijest se razvila u niz smjerova i pristupa, često tražeći i interdisciplinarnost (npr. povijest koncepata ili Begriffsgeschichte u Njemačkoj, povijest političke misli u sklopu tzv. Cambridge škole, pristup povezivanja socio-ekonomskih i političkih fenomena s književnošću na Sveučilištu Sussex, itd.). Upravo zato je ova poddisciplina poželjan okvir istraživanja fenomena modernosti u urbanom kontekstu – pa tako i moderne arhitekture u Zagrebu. Glavna teza rada je da diskurs o modernoj arhitekturi odnosno definiranje problema njene pojave, razvoja i šireg prihvaćanja na razini tekstova otvara pristupe analizi političkih, socio-ekonomskih, kulturnih i intelektualnih aspekata društvenog razvoja Zagreba i Hrvatske općenito. Tako postavljena, tema otvara nekoliko razina intelektualne povijesti kao poddiscipline paralelno: kao povijest ideje i koncepcije, povijest uskih elita (zanimanja, određenog tipa intelektualaca) ili intelektualnih rasprava i prijepora. Primarni izvori ovog istraživanja su brojni tekstovi arhitekata i drugih intelektualaca zainteresiranih za pojavu, afirmaciju i razvoj moderne arhitekture u dugom trajanju moderne arhitekture. Upravo zato su 1900. i 1980. godine kronoloških odrednice, jer predstavljaju jasne točke: Viktor Kovačić 1900. objavljuje svoj manifestni tekst „Moderna arhitektura“, a 1980. godine u časopisu Arhitektura izlazi velika rasprava s okruglog stola o fenomenu postmoderne u arhitekturi. Cilj ovog istraživanja je pronalaženje, analiza i kontekstualizacija ključnih tekstova arhitekata (i drugih stručnjaka) koji su zastupali ideje moderne arhitekture. To prije svega podrazumijeva čitanje i povezivanje izvora s društveno-povijesnim kontekstom. Prateći ideju modernosti, u duljem trajanju između 1900. i 1980. godine, u okviru intelektualne povijesti se proučava ujedno povijest ideje modernog na primjeru tekstova o arhitekturi, odnosno razvoj i promjene u shvaćanju ili značenju koncepta moderne arhitekture. Takav pristup podrazumijeva povezivanje sfera urbane povijesti s društvenom poviješću kao i političkom. Zagreb se kao primjer nameće prije svega jer se radi o nepobitnom hrvatskom središtu od 19. stoljeća te je logični odabir zbog formiranja ideje moderne arhitekture u Hrvatskoj općenito, kao i kasnije središte (domaćeg) obrazovanja arhitekata. Radi svega toga se u raspravama o gradu najčešće javlja i pitanje moderne arhitekture. Osim navedenoga, intelektualna povijest arhitekata i njihovih tekstova također otkriva međuodnos hrvatske arhitekture s bitnim utjecajima izvana (Srednja Europa, Zapadna Europa, Istočna Europa, Sjedinjene Države), odnosno sagledava u kojoj su mjeri hrvatski arhitekti internacionalni, a u kojoj mjeri njihovi tekstovi korespondiraju sa situacijom u Hrvatskoj, odnosno Zagrebu te na što stavljaju naglasak. Analizom ključnih tekstova, prvenstveno arhitekata, a zatim i drugih intelektualaca koji pišu o modernoj arhitekturi, dobiva se bitan izvor za intelektualni razvoj misli o arhitekturi, mijenama u poimanju modernosti, kao i arhitektonske struke koja se u različitim razdobljima povijesti kroz 20. stoljeće nameće kao manje ili više važna u intelektualnom, društvenom, kulturnom, ali i političkom životuAs a prominent distinctive subdiscipline, intellectual history has been present in Western European and Anglo-American historiography since the first half of the 20th century, starting with the American philosopher and historian Arthur Lovejoy (1940) and his Journal of the History of Ideas. The German tradition of the so-called history of the mind/spirit (Geistesgeschichte) was also influential. From the initial basis of the history of ideas, intellectual history has developed into a series of directions and approaches, taking often specific methodological paths and meaning different levels of interdisciplinarity: these are, for example, the history of concepts or Begriffsgeschichte in Germany, the history of political thought within the so-called Cambridge school, intellectual history as a link between socioeconomic and political phenomena with the history of literature at the University of Sussex, etc. This is precisely why intellectual history offers a desirable framework for researching the phenomenon of modernity, which almost necessarily means analyzing an urban (sub)context. Various problems of understanding, defining or developing attitudes towards modernity and its role in the dominant discourses of certain periods are questioned here at the level of texts on modern architecture (intellectual history) in relation to the city of Zagreb as a spatial research determinant (urban history). The main thesis is that the discourse on modern architecture, i.e. defining its origin, development and wider acceptance at a textual level sheds light on different political, socio-economic, cultural and intellectual aspects of the social development of Zagreb (and Croatia/Austria-Hungary/Yugoslavia in general). The topic connects several levels of intellectual history in parallel: as the history of ideas and concepts, the history of urban elites (occupations, certain types of intellectuals) or intellectual debates and controversies. The primary sources of this research are numerous texts by architects and other intellectuals interested in the emergence, affirmation and development of modern architecture in the long run of modern architecture. That is precisely why the years 1900 and 1980 are chronological determinants, representing clear intellectual breaking points: Viktor Kovačić publishes his manifesto "Modern Architecture" in 1900, and in 1980 a large round table discussion on the phenomenon of postmodernism in architecture is published in the magazine Arhitektura (Architecture). Starting from Kovačić and his manifesto, this thesis follows the long duration of an idea that is textually defined and communicated, both to the profession and to the general public, political elites, other intellectuals, etc. By analyzing key texts by experts on architecture and modern architecture a more complete picture of the history of an idea is provided. The thesis provides an answer to the question of what were the constituent elements of that idea at a certain moment in the past and why exactly those elements were highlighted. Between Kovačić's manifesto in 1900 and 1980, important texts appeared in the public domain that, each in their own way, influenced the discussion of modern architecture and its definition in a wider social context: from Kovačić to the collapse of the Habsburg Monarchy, K. Strajnić, A. G. Matoš, V. Lunaček, P. Senjanović and others join this discussion, from 1918 to the end of World War II main texts are written by D. Ibler, E. Weissmann, M. Krleža, S. Planić, B. Rajakovac, P. Knoll, Z. Požgaj, A. Albini, J. Seissel, V. Antolić, A. Freudenreich, K. Ostrogović, etc., and for the period from 1945 to 1980 (in addition to the already mentioned authors who continue to participate in the discussion) A. Mohorovičić, N. Šegvić, A. Mutnjaković, S. Sekulić-Gvozdanović, A. Pasinović, R. Ivančević, Z. Kolacio, T. Premerl, D. Venturini and many others are part of the discussion. The goal of this research is to systemize, analyze and contextualize key texts of architects (and other experts) who discussed the idea(s) of modern architecture. First of all, this implies reading and connecting the sources with the socio-historical context. Such an approach implies connecting the spheres of urban history with social history as well as political history. Zagreb stands out as an example, first of all because it is an undeniable Croatian center since the 19th century and is a logical choice due to the formation of the idea of modern architecture in Croatia in general, as well as the later center of (domestic) education of architects and their professional activity. Because of all this, the question of modern architecture often arises in the context of discussions on the city itself. In addition to the above, the intellectual history of architects and their texts also reveals the interrelationship of Croatian architecture with important external influences (Central Europe, Western Europe, Eastern Europe, the Soviet Union and the United States), that is, it looks at the extent to which Croatian architects are international, and to what extent their texts correspond to the situation in Croatia, i.e. Zagreb. Modern architectural tendencies started emerging in Croatia at the turn of the 20th century. At the same time, a vivid intellectual discourse – on the notions of modernity, the principles of modernism, and its importance to the society – was blooming under the influence of Vienna and Otto Wagner's school of thought, especially Adolf Loos. At the beginning of the 20th century, architects were still educated at foreign universities, primarily in Vienna, but also in France and Germany. Immediately at the beginning of the interwar period, in 1919, the schooling of future architects will begin in Zagreb. Beside the important Technical College, which in 1926 would become part of the University of Zagreb as the Technical Faculty, especially the Architectural department of the Academy of Fine Arts under the leadership of Drago Ibler brought dynamics to education and different approaches to architecture in Croatia. The expansion of the city of Zagreb and the constant increase in the number of inhabitants, as well as the redefinition of the city's borders, represent a challenge not only to architects, but also to the city itself. The interwar period laid the foundations for the acceptance of modern architecture. The dissolution of Austria-Hungary in 1918 marked an important turning point which heavily influenced the intellectual discourse on modern architecture in Zagreb. The development of modern architecture and the changing political context – the formation of the Kingdom of Serbs, Croats and Slovenes; the later Kingdom of Yugoslavia; as well as the formation of the Independent State of Croatia in 1941 – were reflected in the discussions and nuances of the perceptions of modernity, a process which modified the role of the architect itself. During World War II the extraordinary dominance of politics directly reflected on the concept of modernity. Discussions on the principles of modern architecture continued after the end of World War II and the formation of the socialist Yugoslavia in 1945. However, the discourse was modified and adapted to the new political and social changes, which were caused by war. This led to important modifications in the presentation of the programme of modern architecture, as well the role of the architect and the architectural profession in urban environments (Zagreb in particular) and society in general. By the end of the war and the (re)establishment of Yugoslavia, modern architecture once again became the reference point of the new regime and directly connected to its modernization matrix. In doing so, modernist principles are reexamined, and in some cases ideologically harmonized. After the definitive rejection of influence from the Soviet Union, architecture took advantage of the opportunity in the coming post-war/Cold war reconstruction and construction, combining foreign influences with domestic needs. In this period, the connection between architecture and urban planning is most visible, which is especially reflected in Zagreb. This dominantly harmonious situation lasted until the end of the 1970s. The emergence of more individual approaches and stratification of principles marked the beginning of new aspirations in the form of postmodernism. By analyzing key texts on modern architecture, written primarily by architects (and also other well-informed intellectuals), essential sources for the intellectual development of the concept of modernity in Croatia and Zagreb are reevaluated and contextualized
People with motor disorders and friendship
No full textCilj ovog kvalitativnog istraživanja je dobiti uvid u perspektive osoba s motoričkim poremećajima u kontekstu prijateljstva. Istaknut je način doživljavanja prijateljstva, što ono za njih predstavlja, kakvo je zadovoljstvo prijateljskim odnosima te koje izazove u sklapanju i zadržavanju prijateljstva prepoznaju. U istraživanju je sudjelovalo šest osoba s područja Republike Hrvatske. Za prikupljanje podataka korišten je polustrukturirani intervju, a obrada podataka podrazumijevala je tematsku analizu. Rezultati su pokazali da osobe s motoričkim poremećajima doživljavaju prijateljstvo kao otvoren odnos, temeljen na povjerenju i poštovanju. U tom odnosu im je bitno da se njihova osobnost nalazi iznad invaliditeta uz razumijevanje i prihvaćanje bez opravdanja te da je prisutna obostrana komunikacija i iskrenost. Izazovi s kojima se susreću u sklapanju prijateljstva vezani su uz društvene predrasude, neosviještenost osoba bez invaliditeta i nepoznavanje pristupa kod osoba bez invaliditet. Također, izazovi uključuju i probleme u obrazovnom sustavu, ali i različite osobine ličnosti te teškoće u komorbiditetu. Kao dodatni izazovi u zadržavanju prijateljstva pokazali su se i mjesto stanovanja, prostorna neprilagođenost te zahtjevnost organizacije mjesta i vremena druženja. Sama procjena zadovoljstva prijateljskim odnosima vrlo je subjektivna i uglavnom ovisi o osobinama ličnosti, ali i o utjecaju okoline.The aim of this qualitative research is to gain insight into the perspectives of individuals with motor impairments/disabilities in the context of/ in regards to friendship. The focus was on how they experience friendship, what it means to them, how satisfied are they with their friendships, and the challenges they recognize in forming and maintaining these relationships. Six people from the Republic of Croatia participated in the research. A semi-structured interview was used to collect data, and data processing involved thematic analysis. The results showed that people with motor disabilities experience friendship as an open relationship based on trust and respect. In this relationship, it is important for them that their personal position is above disability with understanding and acceptance without justification, and that there is mutual communication and honesty. The challenges they face in making friends are related to social prejudices, lack of awareness from people without disabilities as well as lack of knowledge of the approach from people without disabilities. The challenges also include problems in the education system, in addition to different personality traits and difficulties in comorbidity. The place of residence, spatial maladjustment and the demands of organizing the place and time for socializing have also proven to be challenges in maintaining friendships. The assessment of satisfaction with friendships is very subjective and depends mainly on personality traits, but also on the influence of the environment
Numerical stress analysis of the composite steering wheel for a Formula Student competition vehicle
No full textCilj ovog završnog rada je razvoj kompozitnog volana natjecateljskog vozila Formule Student
te numerička analiza istog. U radu je izrađen CAD model, a zatim i numerički model volana te
je provedena analiza metodom konačnih elemenata korištenjem programskog paketa Abaqus.
Posebna pažnja posvećena je konstrukciji hvatišta radi postizanja potpune ergonomije,
optimizaciji oblika volana (s umetkom) te rasporedu slojeva, čime je postignuta željena krutost
uz minimalnu masu.
Pri razvoju ergonomije su sudjelovali vozači FSB Racing Team-a, dok su se postavljene sile i
zahtjevi temeljili na testiranjima i proračunima.
Numerička analiza započinje izradom numeričkog modela volana, definiranjem rubnih uvjeta,
opterećenja i rasporeda slojeva kompozitnih materijala, uz analizu čvrstoće primjenom kriterija
popuštanja Tsai-Hill i Tsai-Wu.The goal of this Bachelor's thesis is the design of the composite steering wheel of the Formula
Student competition vehicle and its numerical analysis. In the thesis, a CAD model was created,
followed by a numerical model of the steering wheel, and an analysis was performed using the
finite element method using the Abaqus software package. Special attention was paid to the
design of the grips, in order to achieve complete ergonomics, and to optimize the shape of the
steering wheel, but also to define the composite layup, which achieved the desired stiffness with
minimal mass. The ergonomics development involved drivers from the FSB Racing Team,
while the applied forces and requirements were based on testing and calculations.
The numerical analysis began with the creation of the numerical model of the steering wheel,
the definition of boundary conditions, loads, and the selection of the layup of the composite
plies, followed by a strength analysis using the Tsai-Hill and Tsai-Wu failure criteria
Must cooling of white grapes during fermentation
No full textU ovom završnom radu razrađena je tema procesa hlađenja mošta od bijelog grožđa za vrijeme fermentacije. U uvodnom dijelu opisan je proces proizvodnje vina te važnost primjene sustava hlađenja u procesu alkoholne fermentacije. U nastavku je opisan proces hlađenja te su navedene radne tvari koje se primjenjuju u tehnici hlađenja. Također su navedene vrste hlađenja kojima se kontrolira temperatura mošta pri provođenju procesa fermentacije. Zatim je proveden termodinamički proračun rashladnog uređaja za posredno hlađenje mošta u posudama od nehrđajućeg čelika, volumena 2000 litara 2 komada i 1000 litara 3 komada. Uređaj za hlađenje se sastoji od četiri osnovne komponente, to su kompresor, kondenzator, prigušni element te isparivač. Termodinamički proračun obuhvaća proračun isparivača te proračun cjevovoda. U završnom dijelu rada je proračunata cirkulacijska pumpa za posredni prijenosnik energije te su prikazane sheme spajanja, automatska regulacija i dispozicijski crtež rashladnog postrojenja.This final thesis covers the cooling process of white grapes during fermentation. The introduction describes winemaking and the importance of employing cooling systems in the process of alcoholic fermentation. The paper provides a description of the cooling process, as well as a list of refrigerants that are used in the cooling technique and types of cooling systems used to control the must’s temperature during fermentation. Furthermore, a thermodynamic calculation was made for indirect cooling of must in stainless steel containers - two of which had a volume of 2000 liters and three a volume of 1000 liters. A cooling device consists of four basic components: a compressor, a condenser, an expansion valve, and an evaporator. The thermodynamic calculation includes calculations for the evaporator and the pipeline. The paper concludes with a calculation of the circulation pump for the indirect energy transporter, and it includes diagrams that show connecting parts, automatic regulation, and a technical drawing of the cooling installation
Laboratory diagnostics of multiple myeloma
No full textMultipli mijelom aktivna je zloćudna bolest plazma stanica s izraženim oštećenjima drugih organa za razliku od stanja koje mu
prethode, monoklonske gamapatije neodređenog značaja i šuljajućeg mijeloma. Dolazi do stvaranja malignog klona plazma stanica koje sintetiziraju monoklonski imunoglobulin. Zbog njegovog nakupljanja, i potiskivanja funkcionalnih imunoglobulina, dolazi do najčešćih simptoma bolesti poput bolova u kostima, čestih infekcija, anemija, bubrežnog zatajenja i dr. Bolest je nepoznate etiologije, ali se pretpostavlja da joj pridonose genska predispozicija, izloženost zračenju i utjecaj okoliša. Druga je najčešća hematoonkološka bolest koja više zahvaća crnu nego bijelu rasu te više muškaraca od žena. Bolest se najčešće javlja između 65. i 72. godine života. Multipli mijelom neizlječiva je bolest, ali uz pomoć novih lijekova i autologne transplatacije matičnih stanica, postiže se puno dulje preživljenje i remisija bolesti. Laboratorijskim testovima dokazuju se monoklonski proteini, određuje se njihov tip te se kvantificiraju. Time se postavlja dijagnoza i prati uspješnost terapije. Elektroforeza serumskih proteina probirni je test za dokazivanje postojanja monoklonskog vrška. Određivanje slobodnih lakih lanaca u serumu probirni je test u kombinaciji s elektroforezom serumskih proteina i koristi se za praćenje bolesti te praćenje stanja nakon transplantacije koštane srži.
Imunofiksacijskom elektroforezom proteina klasicira se M-proteina. To je potvrdni test monoklonalnosti na temelju kojeg se može
donijeti diferencijalna dijagnoza mono-, bi- i triklonalnih gamapatija. Također, tim se testom provjerava relaps bolesti nakon
transplantacije koštane srži. Nalazi pacijenata s multiplim mijelomom često ukazuju na povišene koncentracije ukupnih proteina i
gama globulina, a koncentracija albumina je snižena. Uz to je sedimentacija eritrocita, kao biljeg upale i malignog procesa, ali i
viskoznosti krvi, ubrzana. Povišeni β-2-mikroglobulin loš je prognostički biljeg isto kao i hiperkalcijemija do koje dolazi zbog
osteolize u već uznapredovaloj bolesti. Cilj ovog diplomskog rada bio je prikazati mogućnosti biokemijskih metoda u dijagnostici
monoklonskih proteina kod sumnje na plazmastaničnu diskraziju. Koristeći se metodom kapilarne elektroforeze serumskih proteina monoklonski su vršci dokazani u 3 od 4 bolesnice, imunofiksacijom su potvrđeni tipovi monoklonskih proteina, a
imunoturbidimetrijom su kvantificirani. Navedene metode pomogle su u postavljanju dijagnoze i profiliranju fenotipa bolesti što je
preduvjet za daljnje liječenje.Multiple myeloma is an active malignant disease of plasma cells characterized by significant damage to other organs,
unlike its preceding conditions, monoclonal gammopathy of undetermined significance and smoldering myeloma.
The disease involves the formation of a malignant clone of plasma cells that synthesize monoclonal
immunoglobulin. Due to its accumulation and suppression of functional immunoglobulins, the most common
symptoms of the disease arise, such as bone pain, frequent infections, anemia, kidney failure, and others. The disease
has an unknown etiology, but it is believed that genetic predisposition, exposure to radiation, and environmental
factors contribute to it. It is the second most common hematologic malignancy, affecting Black people more than
White people, and men more than women. The disease most often occurs between the ages of 65 and 72. Multiple
myeloma is an incurable disease, but with the help of new drugs and autologous stem cell transplantation, much
longer survival and disease remission can be achieved. Laboratory tests detect monoclonal proteins, determine their
type, and quantify them. This establishes the diagnosis and monitors the effectiveness of therapy. Serum protein
electrophoresis is a screening test used to detect the presence of a monoclonal spike. The determination of free light
chains in serum is a screening test combined with serum protein electrophoresis, used for monitoring the disease
and post-bone marrow transplantation status. Immunofixation electrophoresis of proteins classifies the M-protein.
This is a confirmatory test for monoclonality, based on which a differential diagnosis of mono-, bi-, and triclonal
gammopathies can be made. Additionally, this test checks for relapse of the disease after bone marrow
transplantation. The laboratory findings of patients with multiple myeloma often indicate elevated levels of total
proteins and gamma globulins, while albumin concentration is reduced. Moreover, erythrocyte sedimentation rate
(as a marker of inflammation and malignant processes, but also blood viscosity) is accelerated. Elevated β-2-
microglobulin is a poor prognostic marker, as is hypercalcemia, which occurs due to osteolysis in advanced stages
of the disease. The aim of this thesis was to present the possibilities of biochemical methods in the diagnosis of
monoclonal proteins in suspected plasma cell dyscrasias. Using the method of capillary serum protein
electrophoresis, monoclonal spikes were detected in 3 out of 4 female patients, the types of monoclonal proteins
were confirmed by immunofixation, and they were quantified by immunoturbidimetry. These methods helped
establish the diagnosis and profile the disease phenotype, which is a prerequisite for further treatment
Chemical oxidative polymerization of aniline monomer in the presence of ZnO nanoparticles
No full textNanokompozit polianilin/cinkov oksid (PANI/ZnO) sintetiziran je in situ kemijsko oksidativnom polimerizacijom monomera anilina (ANI) u prisustvu nanočestica cinkovog oksida (ZnO). U radu su istraženi optimalni uvjeti sinteze koja je provedena u vodenoj otopini organskog otapala dietilen glikola (DEG) uz dodatak 2,5 mL, 5,0 mL te 10,0 mL DEG-a te pri različitim vremenima polimerizacije: 15 min, 30 min, 45 min, 60 min. Karakterizacija sintetiziranih nanokompozita provedena je infracrvenom spektroskopijom s Fourierovom transformacijom (FTIR), difuznom refleksijskom spektroskopijom (DRS), rendgenskom difrakcijskom analizom (XRD), pretražnom elektronskom mikroskopijom (SEM) te određivanjem elektrovodljivosti. Na temelju rezultata uspješno je provedena sinteza vodljivog PANI/ZnO nanokompozita polimerizacijom anilina u neutralnom mediju uz dodatak DEG-a u uvjetima u kojima je izbjegnuto otapanje nanočestica ZnO. Nadalje, XRD analiza potvrdila je prisutnost nanočestica ZnO u obliku vurcita, dok su FTIR i DRS spektroskopija, kao i elektrovodljivost dokazali postojanje PANI-ja u vodljivom obliku kao zelena emeraldinska sol (PANI-ES). Iz dobivenih rezultata karakterizacije, može se zaključiti da najbolja vodljiva svojstva pokazuju nanokompozitni uzorci PANI/ZnO/5,0 mL DEG – 15 min (κ/S·cm^-1=2,066⋅10^-4) i PANI/ZnO/10,0 mL DEG – 60 min (κ/S·cm^-1=6,227⋅10^-4). Ovaj predstavljeni pristup pokazuje značajan napredak u sprječavanju otapanja nanočestica ZnO osjetljivih na nizak pH tijekom in situ sinteze PANI/ZnO nanokompozita, čime se značajno proširuje područje njegove primjene, pogotovo u fotokatalizi i senzorima.Nanocomposite polyaniline/zinc oxide (PANI/ZnO) was synthesized by in situ chemical oxidative polymerization of aniline monomer (ANI) in the presence of zinc oxide (ZnO) nanoparticles. The paper investigated the optimal conditions of the synthesis, which was carried out in an aqueous solution of the organic solvent diethylene glycol (DEG) with the addition of 2,5 mL, 5,0 mL and 10,0 mL of DEG and at different polymerization times: 15 min, 30 min, 45 min, 60 min. The characterization of the synthesized nanocomposites was carried out by Fourier transform infrared spectroscopy (FTIR), diffuse reflectance spectroscopy (DRS), X-ray diffraction analysis (XRD), scanning electron microscopy (SEM) and determination of electrical conductivity. Based on the results, a conductive PANI/ZnO nanocomposite was successfully synthesized by polymerization of aniline in a neutral medium with the addition of DEG under conditions in which the dissolution of ZnO nanoparticles was avoided. Furthermore, XRD analysis confirmed the presence of ZnO nanoparticles in the form of wurtzite, while FTIR and DRS spectroscopy, as well as electrical conductivity, proved the existence of PANI in a conductive form as green emeraldine salt (PANI-ES). From the obtained characterization results, it can be concluded that the best conductive properties are shown by nanocomposite samples PANI/ZnO/5,0 mL DEG – 15 min (κ/S·cm^-1=2,066⋅10^-4) and PANI/ZnO/10,0 mL DEG – 60 min (κ/S·cm^-1=6.227⋅10^-4). This presented approach demonstrates significant progress in preventing the dissolution of low pH-sensitive ZnO nanoparticles during the in situ synthesis of PANI/ZnO nanocomposite, thereby significantly expanding its application area, especially in photocatalysis and sensors
Hydrological and Seismic Impacts on Groundwater at a Landfill Site
No full textPodzemne vode čine važan dio prirodnog vodenog ciklusa, a njihova kvaliteta je ključna za očuvanje okoliša, osobito u područjima u blizini odlagališta otpada. U ovom radu proučavani su hidrološki i seizmički čimbenici koji mogu utjecati na razinu i kvalitetu podzemnih voda odlagališta neopasnog otpada „Goričica“. Istraživanja su provedena u periodu od 2018. do 2024. godine. Istraživanje je pokazalo kako prirodni utjecaji mogu privremeno poremetiti uobičajene obrasce podzemnih tokova i kvalitete podzemne vode, ali i da se pravilnim sustavom nadzora mogu pravodobno prepoznati i pratiti takve promjene. Rad pruža dublji uvid u složen odnos između prirodnih pojava i podzemnih voda odlagališta otpada te ističe važnost kontinuiranog monitoringa u zaštiti vodonosnika i okoliša.Groundwater is an essential component of the natural water cycle, and its quality is crucial for environmental protection, especially in areas near waste disposal sites. This thesis examines the hydrological and seismic factors that may influence the level and quality of groundwater at the “Goričica” non-hazardous waste landfill. The research was conducted over the period from 2018 to 2024. The study revealed that natural influences can temporarily disrupt typical groundwater flow patterns and water quality, but that such changes can be timely identified and monitored through an effective monitoring system. The paper provides a deeper insight into the complex relationship between natural phenomena and landfill groundwater and emphasizes the importance of continuous monitoring for the protection of aquifers and the environment