Croatian Digital Dissertations Repository
Not a member yet
10487 research outputs found
Sort by
Late medieval rings from Slavonia and Syrmia in the collections of the Archaeological museum in Zagreb
No full textDoktorski rad bavi se tipološkom, stilskom i kronološkom analizom prstenja koje datira u razdoblje kasnog, a dijelom i razvijenog srednjeg vijeka (kraj 12. do 16. st.) koji su krajem 19. i početkom 20. stoljeća prikupljeni na prostoru (istočne) Slavonije i Srijema u cjelini i danas se čuvaju u fundusu Arheološkog muzeja u Zagrebu. Katalog popraćen crtežima i fotografijama predmeta čini polazišnu točku ovog rada. Razmatra se tipologija prstenja na temelju oblika i ukrasa te ih se komparativnim metodama, sa srodnom građom s područja srednje i jugoistočne Europe svrstava u kulturni i vremenski kontekst. U fokusu je i biografija predmeta koja uključuje njihovu proizvodnju, distribuciju, upotrebu, deponiranje. Količina i raznolikost prstena, ali i načini nabave, čine ovu zbirku vrijednom i znanstveno zanimljivom ne samo u kontekstu poznavanja srednjovjekovne materijalne kulture u svim njezinim aspektima, nego i povijesti Muzeja. Kao i u mnogim drugim muzejskim zbirkama, riječ je o slučajnim nalazima te nedostatak arheološkog konteksta otežava i ograničava donošenje određenih zaključaka. Ipak, njihova analiza znatno doprinosi općenito slabijoj zastupljenosti proučavanja srednjovjekovnog prstenja u domaćoj literaturi, ali i upotpunjavanju praznine koja se odnosi na trenutni nedostatak publiciranih nalaza s područja Srijema.A significant number of medieval rings originate from the geographical region of Syrmia and Slavonia, the present-day political borders of eastern Croatia and northwestern Serbia (southwestern Vojvodina region). The dissertation focuses on artifacts acquired for the National Museum (at the time) before World War I, now housed in the Archaeological Museum in Zagreb. Since then, they have never been evaluated in a museological and scientific framework and have remained unknown to the professional public until now. The primary goal of this study was to systematize and analyze a group of medieval rings, despite the lack of information about their original context. The analyzed material includes 178 examples of Late Medieval (13th-16th century) rings from eastern and western Syrmia, as well as eastern Slavonia. While some rings lacked information about their specific find locations, they were included because they are typologically and chronologically similar to others, suggesting they likely originated from the same region and time period. All published rings from the mentioned area were used for comparison. Ultimately, the aim was to understand how these rings fit into the broader context of similar jewelry types in neighboring regions. Prior to this analysis, Syrmia and Eastern Slavonia represented a gap in our archaeological understanding of ring types. Rings were the most popular form of jewelry in the Late Middle Ages, offering valuable insights into craft art, funeral customs, spiritual life, cultural currents, trade, and social status. However, limitations arose due to a lack of context and insufficient research and publication of findings. Despite these challenges, a large sample provided a diverse range of typological and stylistic variations. We gained a better understanding of fashion, production, trade, and other aspects related to medieval jewelry, laying a foundation for future research. The rings have been cataloged and accompanied by photos and drawings. Analysis included typological determination based on production method and shape, as well as classification according to decorative elements. A few examples were subjected to material composition analysis. Comparative methods allowed for their placement in a chronological framework, providing a general overview of the collection in relation to similar objects from the same region and its surroundings. Additional observations regarding function, use, distribution, and deposition contributed to a comprehensive understanding of the object's complexity and its role in Late Medieval society. According to the manufacturing process, the rings were made of one or two components. Cast rings are the most numerous, with the most variations appearing. The shape of the rings evolved based on the shape of the bezel and its relation to the shoulders and hoop, as well as the overall massiveness of the ring. Earlier forms were simpler, thinner, and lighter, often with circular, and sometimes oval-shaped bezels. Later, more massive forms appeared, with bezels commonly oval, but also rhomboid, hexagonal, and octagonal. This trend was also observed in surrounding countries and throughout Europe. Linear-geometric motifs are the most numerous group of bezel decorations, followed by vegetative motifs, primarily lily flowers. Zoomorphic motifs, such as birds, are also widely represented, and depictions of four-legged animals are common as well. Monograms are a distinctive ornament, with the letter "I" being particularly prevalent. An intriguing and numerous motif is the wing, which also appears as a component of composite ornaments. Other ornaments, including anthropomorphic figures, abstract designs, and unrecognizable shapes, are present in smaller quantities. In addition to the main decorative surface of the ring's bezel, many rings also feature at least partially decorated hoop. Some of the motifs in this group of rings can be associated with Christian symbolism (cross, fish, Agnus Dei, eagle, lily), while for some, it can only be assumed. Sometimes it is difficult to understand the symbolism because some motifs have been used for a long time and can be interpreted as a pure decoration, not necessarily bearing a symbolic message. The rings offer a glimpse into the material and spiritual culture of the period, aligning with the typological-stylistic framework of Central and Southeastern Europe. The collection does not feature luxurious rings of expensive manufacture or complex and skillfully shaped decorations. Instead, it consists primarily of rings made from cheaper and more available materials, with only a small number of silver rings demonstrating high-quality production. Most of the rings likely originated from rural cemeteries, where the population would have used more affordable products. The smaller number of higher-quality silver rings might be attributed to wealthier owners, such as lower nobility or merchants from city centers. Regarding materials, copper alloys are the most widely used. Silver is the second most common material and is usually of high purity. Less common examples are made of alloys containing zinc, copper, and tin, which often suggest the recycling of materials and the utilization of available raw materials. Brass is also well-represented, and its percentage is likely even higher, as a comprehensive analysis of the entire collection has not been conducted. Comparative analyses revealed interesting data related to production techniques and decorations. They indicate the position of Syrmia on the very periphery of the Hungarian Kingdom, with stronger southern influences, but also where some local design and decorative variants developed. The difference in the utilized materials is also evident compared to the present-day southern Hungarian counties. The amount of silver specimens there is the same as those of copper alloys in this sample. However, the two samples do not fully overlap in typology and chronology since cast rings, which are dominant here, are poorly represented in the Hungarian comparative sample. In general, stray finds significantly outnumber artifacts found in context (graves, hoards, settlements). Despite the scarcity of grave goods, rings were a common type of jewelry during the 14th and 15th centuries. Likewise, excavations of medieval towns and rural settlements resulted in very few rings and jewelry. The number of rings has recently been increasing due to the intensive use of metal detectors in eastern Croatia. This practice is also gaining popularity in Hungary. Unfortunately, apart from the awareness about the quantity and distribution of certain types of rings, this method results in the permanent loss of other valuable archaeological information. It seems that the forms at the end of the Middle Ages had more influences from the south, which is probably a reflection of political circumstances. Syrmia was an integral part of the Hungarian Kingdom until the Ottoman occupation but had a looser connection to the central parts of the Kingdom in that final period. Communication and trade with the southern neighborhood were more vivid, and the demographic picture also changed. Moreover, local production also had its role in fashion, which comparative analyses with other finds from Eastern Slavonia have shown. In addition to the specific motifs of walking birds and various combinations of the wing motif on both samples, one can also notice, for example, the smaller number of rings decorated with monograms in this collection compared to the Vinkovci collection. However, there are no rings connected to the Kosovo workshops in Vinkovci. The time period when these rings were in fashion partially overlaps, so these data are important for understanding the cultural and political circumstances. Although the collections partially cover the same area, the collection includes a greater number of artifacts from the eastern Syrima region compared to the Vinkovci collection. The analysis of stray finds of rings collected in Syrmia and Slavonia has yielded new insights and a comprehensive overview of the preferred shapes and decorations of this type of jewelry. These rings are now placed in context based on available comparative material
Decision-tree-based differential diagnosis of β-thalassemia and sideropenic anemia in children
No full textMikrocitne anemije najčešći su oblik anemija u dječjoj dobi. Najčešći uzrok mikrocitne anemije jest nedostatak željeza, tj. sideropenična anemija. Značajno rjeđi uzrok mikrocitne anemije jesu talasemije. Dijagnostički model za razlikovanje tih dviju bolesti u djece samo na temelju nalaza kompletne krvne slike, prema dostupnim literaturnim podacima, nije standardiziran. Cilj istraživanja bio je odrediti matematičke indekse koji bi omogućili valjano razlikovanje tih dviju bolesti samo na temelju nalaza kompletne krvne slike, a pritom uvažavajući specifičnosti β-talasemije u naše djece.
Logističkom regresijom određene su vrijednosti krvne slike koje su najinformativnije za razlikovanje β-talasemije od sideropenične anemije. Od tih parametara kompletne krvne slike najinformativnijom se pokazao srednji volumen eritrocita (MCV). Druga dva parametra kompletne krvne slike koja najbolje služe za razdvajanje tih dviju bolesti jesu koncentracija hemoglobina (Hb) i prosječna količina hemoglobina u eritrocitu (MCH).
Budući da granične vrijednosti izvornih indeksa koji su načinjeni za odraslu populaciju većinom ne zadovoljavaju u djece, uporabom ROC analize učinjena je optimizacija graničnih vrijednosti svih u literaturi objavljenih svjetskih indeksa i formula. Tako dobivene granične vrijednosti bolje razlikuju djecu s β-talasemijom od djece sa sideropeničnom anemijom u usporedbi s graničnim vrijednostima izvornih indeksa. Najbolji prilagođeni (optimizirani) jednostavni indeks za razlikovanje djece s β-talasemijom od djece sa sideropeničnom anemijom u Republici Hrvatskoj jest Matos-Carvalho indeks s točnošću > 90 % (91,51 %) uz uravnoteženu osjetljivost (89,94 %) i specifičnost (93,75 %). Ostali indeksi s točnošću England i Fraser > Pornprasert > Sirachainan > Telmissani MCHD > CRUISE > Alparslan > Hameed > Sargolzaie > Zaghloul II).
Složeni indeksi pokazali su također uspješnost u razlikovanju djece s β-talasemijom od djece sa sideropeničnom anemijom u Republici Hrvatskoj s točnošću 80 % (ukupno 11 indeksa i formula) upotrijebljeni su za iznalaženje novoga složenog CroCompDD indeksa (točnost 92,25 %, osjetljivost 92,72 %, specifičnost 91,67 %). Analiza grupa (engl. cluster analysis) matematičkih indeksa kao mjerilo najbolje performanse izdvojila je AUC i Youden indeks.
Uporabom metoda strojnog učenja načinjen je dijagnostički postupak s najpovoljnijim odnosom osjetljivosti i specifičnosti za te dvije bolesti. Upotrijebljena su četiri algoritma. Najboljim se pokazao JRIP s točnošću od 94,83 % s postotkom točnosti na unakrsnoj validaciji (engl. leaving one out) od 89,29 %. Sljedeći algoritam, PART, ima postotak 92,25 % s unakrsnom validacijom od 85,60 %. J48 algoritam ima postotak točnosti od 91,88 % (na unakrsnoj validaciji 88,56 %), dok Simple Cart algoritam ima točnost od 91,88 % (na unakrsnoj validaciji 87,45 %). Dobiveni rezultati omogućuju uspostavu smjernica za razlikovnu dijagnostiku mikrocitne hipokromne anemije s praktičnom primjenom u primarnoj, sekundarnoj i tercijarnoj zdravstvenoj zaštiti.Microcytic anemias are the most common form of childhood anemia. The most common cause of microcytic anemia is iron deficiency, i.e., sideropenic anemia. A significantly rarer cause of microcytic anemia is thalassemia. According to available literature data, the diagnostic model for distinguishing these two diseases in children based solely on the findings of a complete blood count is not standardized. The study aimed to determine mathematical indices that would allow a valid distinction between these two diseases only based on the findings of a complete blood count while considering the specifics of β-thalassemia in our children.
Logistic regression determined the blood count values that are most informative for distinguishing β-thalassemia from sideropenic anemia. Of these complete blood count parameters, the mean corpuscular volume (MCV) proved to be the most informative. The other two complete blood count parameters that best serve to separate these two diseases are hemoglobin concentration (Hb) and mean corpuscular hemoglobin (MCH).
Since the cut-off values of the original indices made for the adult population are mostly unsatisfactory in children, the limit values of all published world indices and formulas published in the literature were optimized using ROC analysis. The cut-off values thus distinguish children with β-thalassemia better than children with sideropenic anemia compared to the cut-off values of the original indices. The best adjusted (optimized) simple index for distinguishing children with β-thalassemia from children with sideropenic anemia in the Republic of Croatia is the Matos-Carvalho index with an accuracy of> 90% (91.51%) with balanced sensitivity (89.94%) and specificity (93.75%). Other indices with an accuracy of England and Fraser> Pornprasert> Sirachainan> Telmissani MCHD> CRUISE> Alparslan> Hameed> Sargolzaie> Zaghloul II).
Complex indices also showed success in distinguishing children with β-thalassemia from children with sideropenic anemia in the Republic of Croatia with an accuracy of <90% and ≥ 80%; Index26 with an accuracy of 82.66% with a sensitivity of 84.11% and a specificity of 80.83% (adjusted limit values) and a Janel (11T) index with standard limit values (accuracy 83.39% sensitivity, 93.39%, specificity 75.33%).
The CroCompDD index was compiled based on the group analysis, consisting of 6/11 best indices and formulas with adjusted cut-off values (AUC median 0.92). This index best reflects the genetic specificity of children with β- thalassemia in the Republic of Croatia (accuracy 92.25%, sensitivity 92.72%, specificity 91.67%).
A diagnostic procedure was made using machine learning methods with the most favorable relationship of susceptibility and specificity for these two diseases. Four algorithms were used. JRIP proved to be the best, with an accuracy of 94.83% with a percentage of accuracy on crossvalidation (leaving one out) of 86.35%. The J48 algorithm has an accuracy percentage of 91.88% (on cross-validation 89.29%). The following algorithm, PART, has an accuracy of 92.25% with a cross-validation score of 85.60%. The J48 algorithm has an accuracy of 91.88% (with a crossvalidation score of 88.56%), while the Simple Cart algorithm has an accuracy of 91.88% with a cross-validation score of 87.45%.The obtained results enable the establishment of guidelines for the differential diagnosis of microcytic hypochromic anemia with practical application in primary, secondary, and tertiary health care
Isolation, characterization and evaluation of biological activities of extracts and natural compounds isolated from the Adriatic sea coral, Eunicella cavolini
No full textMorski sjedilački organizmi poput spužvi i koralja prilagodili su se ekstremnim uvjetima morskog okoliša sintezom sekundarnih metabolita s jedinstvenim strukturnim karakteristikama koji su pokazali široki spektar bioloških aktivnosti in vitro i in vivo. U prijašnjim studijama iz oktokoralja roda Eunicella, izolirani su spojevi iz klase steroida, terpenoida i alkaloida s prvenstveno citotoksičnim učincima. Unatoč tome što su Eunicella koralji iz Sredozemnog mora bili predmet nekolicine istraživanja unazad nekoliko desetljeća, oni iz Jadranskog mora do sada nisu istraživani u cilju izolacije prirodnih spojeva i biološke evaluacije istih. Stoga, je ovim doktorskim istraživanjem po prvi puta provedena kemijska karakterizacija metabolita i biološka evaluacija ekstrakta te polu-pročišćenih frakcija dobivenih iz koralja Eunicella cavolini (Koch, 1887.), s ciljem utvrđivanja potencijala antiproliferativnih, antioksidativnih, antimikrobnih i protuupalnih učinaka. Preliminarni podaci su pokazali kako ekstrakti i frakcije koralja pokazuju umjereni antiproliferativni učinak na panelu tumorskih stanica i djelovanje prema Gram-pozitivnim bakterijama, kao i toksične učinke u razvoju embrija zebrica Danio rerio. Stoga, je iz frakcije F1 izoliran i okarakteriziran steroid pregnanskog tipa kojemu su po prvi puta ispitane biološke aktivnosti te je dodatno pripremljen derivat modifikacijom supstituenta. Ti su spojevi pokazali potencijalno protuupalno djelovanje inhibicijom lipooksidaze iz soje te denaturacije albumina uz umjerenu inhibiciju rasta tumorskih stanica i selektivnost prema stanicama adenokarcinoma debelog crijeva. Također je prirodni pregnanski produkt imao zapaženo antibakterijsko djelovanje (MIC = 62,5 µM na B. subtilis) dok su i pregnan i njegov deriviat pokazali toksični efekt na razvoj zebrica pri niskim koncentracijama. S druge strane, doktorski rad je uključivao pripravu jednog od metabolita koji se prirodno pojavljuje u koralju roda Eunicella, granulatamida B te je priređeno desetak njegovih strukturnih analoga modulirajući pobočni masnokiselinski lanac (duljinu lanca, zasićenost, konjugaciju dvostrukih veza). Pokazalo se da granulatamid B i analozi s nezasićenim i/ili konjugiranim dvostrukim vezama uzrokuju umjerenu inhibiciju rasta tumorskih stanica, pri čemu je analog sa lancem retinoične kiseline pokazao antioksidativno djelovanje usporedivo s pozitivnom kontrolom. Dodatno, samo je granulatamid B imao antibakterijsko djelovanje i to prema Gram-pozitivnom B. subtilis. Obzirom na to da strukturni analog granulatamida B sa α-linolenskim lancem nije uzrokovao abnormalan razvoj zebrica, te je imao selektivnije djelovanje prema tumorskim stanicama, mogao bi predstavljati molekulu od interesa za daljnju promjenu strukture i postizanje boljih bioloških učinaka. U konačnici, ovim se istraživanjem otvara put daljnjim ispitivanjima biološkog potencijala ekstrakta, odnosno spojeva jadranskog koralja, E. cavolini s naglaskom na kemijsku modifikaciju struktura s ciljem smanjenja toksičnosti uzoraka.Sedentary marine organisms such as sponges and corals have adapted to the extreme conditions of the marine environment by synthesizing secondary metabolites with unique structural characteristics that have shown a wide range of biological activities in vitro and in vivo. Furthermore, compounds from the class of steroids, terpenoids and alkaloids with primarily cytotoxic effects were isolated via bioprospecting programmes from octocorals of the genus Eunicella. Even though Eunicella corals from the Mediterranean Sea have been the subject of several studies over the past few decades, those from the Adriatic Sea have not been investigated so far with the aim of isolating natural compounds and their biological evaluation. Therefore, within this doctoral research, chemical characterization of metabolites and biological evaluation of extracts and semi-purified fractions obtained from the coral Eunicella cavolini (Koch, 1887) were carried out for the first time, with the aim of determining the potential of antiproliferative, antioxidant, antimicrobial and anti-inflammatory effects. Preliminary data showed that coral extracts and fractions show a moderate antiproliferative effect on a panel of tumour cells and activity against Gram-positive bacteria. Also, toxic effects were observed in the development of zebrafish (Danio rerio) embryos. Consequently, a pregnane-type steroid was isolated and characterized from fraction F1, whose biological activities were tested for the first time, and a derivative was additionally prepared by modifying the substituent. These compounds showed potential anti-inflammatory activity by inhibiting soy lipoxygenase and albumin denaturation with moderate inhibition of cancer cells growth and selectivity towards colon adenocarcinoma cells. Natural pregnane had a noticeable antibacterial effect (MIC = 62.5 µM on B. subtilis) while both pregnane and its derivative exerted toxic effects on zebrafish development were also observed at low concentrations. On the other hand, the doctoral thesis included the preparation of one of the metabolites that occurs naturally in the coral genus Eunicella, granulatamide B, and a dozen of its structural analogues were prepared by modulating the fatty acid side chain (chain length, saturation, conjugation of double bonds). Granulatamide B and analogues with unsaturated and/or conjugated double bonds were shown to cause moderate inhibition of cancer cells growth, with the analogue with a retinoic acid chain showing antioxidant activity comparable to the control. Additionally, only granulatamide B had antibacterial activity against Gram-positive B. subtilis. Given that the structural analogue of granulatamide B with an α-linolenic chain did not cause abnormal development of zebrafish and had a more selective effect on cancer cell lines, it could represent a molecule of interest for further structural change in order to achieve better biological effects. Finally, this research paves the way for further investigation of the biological potential of the extract, or compounds of the Adriatic coral, E. cavolini with an emphasis on the chemical modification of the structures with the aim of reducing the toxicity of the samples
The role of socio-emotional wealth, entrepreneurial orientation and strategic vision on digitalization in the internationalization of family businesses in the Republic of Croatia
No full textSuvremeni uvjeti poslovanja i globalizacija poticaj su obiteljskim poduzećima na promišljanje o širenju poslovanja izvan granica domaćih ekonomija. Internacionalizacija obiteljskih poduzeća prepoznata je kao važan preduvjet rasta poduzeća, razvoja inovativnosti i održivosti poslovanja te osnaživanja obiteljskog identiteta. Temeljni je cilj doktorskoga rada kritička evaluacija međusobnih odnosa između socio-emocionalnoga bogatstva, poduzetničke orijentacije, strateške perspektive digitalizacije i uspješnosti internacionalizacije obiteljskih poduzeća u Republici Hrvatskoj. U doktorskome radu je primijenjeno nekoliko različitih metoda istraživanja. U teorijskome dijelu rada provedena je bibliometrijska analiza i sustavni pregled literature. Slijedeći eksplanatorni sekvencijalni dizajn, u prvoj fazi empirijskog istraživanja provedeno je kvantitativno istraživanje s ciljem statističkoga testiranja postavljenih hipoteza. Prikupljeni primarni podatci analizirani su metodom parcijalnih najmanjih kvadrata modeliranja strukturnim jednadžbama (PLS-SEM). U drugoj fazi provedeno je kvalitativno istraživanje temeljeno na polustrukturiranim intervjuima, s ciljem dubljeg uvida u ispitivane odnose među varijablama. Rezultati istraživanja pokazuju kako je u hrvatskim obiteljskim poduzećima prepoznat koncept socio-emocionalnoga bogatstva te kako on predstavlja potporu u poslovanju i dokaz stabilnosti, tradicije i otpornosti, no nije ključni čimbenik koji utječe na odluke o internacionalizaciji. U procesu internacionalizacije obiteljskih poduzeća, uz osnaživanje poduzetničke orijentacije, važno je usmjeriti se na postizanje konkurentske prednosti koja se ostvaruje kroz troškovnu efikasnost, diferencijaciju proizvoda i prilagodbu kupcima. Rezultati istraživanja potvrđuju posredničku ulogu strateške perspektive digitalizacije u odnosu između poduzetničke orijentacije i uspješnosti internacionalizacije obiteljskih poduzeća. Dobiveni uvidi relevantni su ne samo za akademsku zajednicu i istraživače, već i za vlasnike i menadžere obiteljskih poduzeća, kao i za relevantne kreatore politika, regulatorna tijela i ostale institucionalne aktere usmjerene na poticanje i osnaživanje poduzetništva.Modern business dynamics and globalization are encouraging family businesses to consider expanding beyond domestic markets. Internationalization is increasingly recognized as essential for growth, innovation, business sustainability, and the reinforcement of family identity. This doctoral thesis aims to critically examine the interrelationships between socio-emotional wealth, entrepreneurial orientation, strategic vision on digitalization, and the internationalization performance of family businesses in Croatia. A mixed-method approach was applied. The theoretical section includes a bibliometric analysis and a systematic literature review. The empirical part followed an explanatory sequential design. In the first phase, a quantitative study was conducted to statistically test the proposed hypotheses, using primary data analyzed through the partial least squares structural equation modeling (PLS-SEM) method. In the second phase, a qualitative study based on semi-structured interviews provided deeper insights into the examined relationships. Findings reveal that socio-emotional wealth is perceived by Croatian family businesses as a source of stability, resilience, and tradition. However, it is not a key driver of internationalization. In the internationalization process, alongside strengthening entrepreneurial orientation, it is crucial to focus on achieving competitive advantage through cost efficiency, product differentiation, and customer adaptation. The results also confirm the mediating role of a strategic vision on digitalization in linking entrepreneurial orientation to internationalization performance. This thesis contributes to both academic research and practice. Its insights are relevant not only to scholars but also to family business owners, managers, and policymakers aiming to foster entrepreneurship and support family firms in navigating international markets
Hunter gatherers’ diet across the Pleistocene – Holocene transition on the eastern Adriatic coast – mammal and mollusc assemblages from Vlakno cave on Dugi Otok
No full textDoktorski rad temeljen je na arheozoološkoj analizi sisavaca i mekušaca iz špilje Vlakno na Dugom otoku. Predmetni lokalitet ima neporemećeni stratigrafski slijed prijelaza iz pleistocena u holocen, a u analizi su obuhvaćeni stratumi iz navedenih razdoblja čija usporedba daje potpunije podatke o strategijama preživljavanja ljudskih grupa koje su koristile ovu špilju. Krajem pleistocena, podizanjem razine mora, istočnojadranska obala postupno mijenja geomorfologiju, što izravno utječe na strategije opstanka tadašnjih lovaca skupljača. Hipoteza istraživanja je da su se lovci skupljači na istočnojadranskoj obali prilagođavali promjenjivim prehrambenim resursima širenjem prehrambene baze na manje sisavce i mekušce. Cilj istraživanja je razumijevanje adaptivnih sposobnosti lovaca skupljača na prijelazu iz pleistocena u holocen na istočnojadranskoj obali, kroz proučavanje promjena u prehrani u tom razdoblju. Interpretacija rezultata temeljena je na skupovima nalaza sisavaca i mekušaca na predmetnom lokalitetu, nakon čega su dobiveni rezultati stavljeni u širi kontekst spoznaja o promjenama u prehrani na istočnoj jadranskoj obali.The transition from the Pleistocene to the Holocene was a dynamic period characterized by a series of climatic and ecological changes that influenced the way of life of hunter-gatherer populations. During this period, the eastern Adriatic coast gradually underwent geomorphological transformations, losing a large part of its landmass. The submergence of the Adriatic plain led to the loss of grassy steppes with mixed low vegetation for ungulates. The gradual isolation of the island of Dugi otok and nearby islands from the mainland limited the migrations of larger herbivores towards the todays islands. On the other hand, marine resources became increasingly accessible, so it can be assumed, based on the revolution of a broad spectrum and optimal foraging theory, since their representation increased towards younger periods. Taking into account the described changes, the main hypothesis of this research is that the Late Pleistocene and Early Holocene hunter-gatherers in the eastern Adriatic adapted to the changing environmental conditions by exploiting smaller mammals and molluscs due to the decreased availability of larger herbivores. The aim of the research is to understand the adaptive capabilities of the Late Pleistocene and Early Holocene communities through changes in diet, from hunting and gathering methods to food preparation. For the purpose of this doctoral thesis, the bone remains of mammals from Pleistocene layers (5 and 4), as well as the remains of molluscs, crabs, and sea urchins from Pleistocene (5 and 4) and Holocene layers (3 and 2) in the Vlakno cave on Dugi otok (Dalmatia, Croatia) were analyzed. The faunal remains underwent taxonomic and taphonomic analysis. The energy input of identified prey from Vlakno was estimated based on the kilocalories they provided. The results of the analysis provide insights into the paleoecological picture, changes in prey/food selection, survival strategies, and the use of the cave during the transition from the Pleistocene to the Holocene. The purpose of this discussion is to outline the subsistence patterns of the huntergatherer groups that used this archaeological site, searching for changes or continuities in the strategiesfor the preparation and consumption of mammals and molluscs in the different layers. Based on the paleoecological and palaeoeconomic data from the faunal assemblage from Vlakno, an estimate was made of the importance of different terrestrial and marine animal resources in the late Pleistocene and early Holocene.
Paleoecological indicators suggest that the environment near Vlakno, i.e., Dugi otok, has changed from the Late Pleistocene to the Holocene. The Late Pleistocene fauna from the Vlakno cave indicates a greater availability of open forests and steppe areas. The rising sea level and gradual submergence of the low-lying areas are also reflected in the changing set of animal remains in Vlakno. Large herbivores (bovids, equids) that inhabited steppe expanses are absent in the Holocene layers, and the representation of species inhabiting open areas with groves increases. The changes recorded in the paleoecology of Vlakno are identical to those found in the rest of the eastern Adriatic coast. According to malacological samples, the immediate vicinity of the cave was characterized by more open and karst areas in the early Holocene. Comparing the Pleistocene and Holocene layers, there is a clear difference in prey selection. The Pleistocene layers abound with remains of red deer (Cervus elaphus), along with foxes (Vulpes vulpes) and hares (Lepus europaeus), and significant sources of meat are also represented by bovids and equids. In the Holocene layers, small game becomes more prevalent, and the more frequent use of marine resources (marine molluscs and fish) indicates a gradual adaptation of hunter-gatherer communities by expanding their food base. The treatment of large herbivore carcasses shows similar practices throughout all the layers, primarily involving dismembering the bodies for easier transport, and mostly transporting whole animals to the cave. It is likely that small game was transported in pieces and processed at the site. Based on the assemblage of mammal and mollusc remains, in combination with lithic indicators, it can be concluded that the Vlakno cave exhibits characteristics of a residential camp that was presumably used for the majority of the year, but mainly during autumn, winter, and spring. The zooarchaeological analysis of the mammal and mollusc remains showed that the indicators of a broad-spectrum revolution are visible in Vlakno as well as along the entire eastern Adriatic coast. Although they share certain commonalities, the eastern Adriatic sites have their own microlocation specificities that significantly influenced the adaptation strategies of survival in the area
Synthesis, structural characterization and biological evaluation of novel benzazole hybrids
No full textU ovom doktorskom radu opisana je sinteza i strukturna karakterizacija novih derivata benzoksazola i benzimidazola supstituiranih u položaju 2 arilnim supstituentima te njihova antiproliferativna, antibakterijska i antivirusna aktivnost in vitro. U sintezi novih derivata i njihovih prekursora su pored konvencionalnih sintetskih metoda primijenjeni i pristupi temeljeni na principima zelene kemije poput sinteza potpomognutih mikrovalovima i ultrazvukom, mehanokemijske sinteze te sinteze u niskotemperaturnim eutektičkim otapalima (eng. Deep Eutectic Solvents, DESs). Derivati 2-arilbenzoksazola 49–84 priređeni su trostupanjskom sintezom uključujući u prvom stupnju sintezu O-alkiliranih benzaldehida 1–12 reakcijom alkiliranja 4-hidroksibenzaldehida, potom reakciju kondenzacije s 2-aminofenolom uz nanočestice cinkova oksida kojom su sintetizirane Schiffove baze 13–48, koje su u zadnjem stupnju reakcijom ciklokondenzacije prevedene u derivate 2-arilbenzoksazola 49–84. Schiffove baze i derivati 2-arilbenzoksazola sintetizirani održivim metodama priređeni su u visokim iskorištenjima usporedivima s konvencionalnom sintezom, no uz značajno smanjenje reakcijskog vremena iz čega je razvidno da se primijenjene održive sinteze mogu učinkovito koristiti i u pripravi sličnih klasa spojeva različito supstituiranih na benzoksazolnom prstenu. 1,2,3-triazolni derivati benzoksazola 116–151 pripravljeni su četverostupanjskom sintezom. U prvom stupnju sintetizirane su Schiffove baze 85–93 kondenzacijom benzaldehida s odgovarajućim 2-aminofenolima, potom su njihovom ciklokondenzacijom s natrijevim cijanidom pripravljeni 2-arilbenzoksazoli 94–102, koji su reakcijom propargiliranja prevedeni u O-propragilirane derivate 103–111. Bakrom(I) kataliziranom klik-reakcijom u zadnjem stupnju s prethodno pripravljenim azidima 112–115 sintetizirani su 1,2,3-triazolni derivati benzoksazola 116–151. Optimizacijom reakcijskih uvjeta za pripravu 1,2,3-triazolnih derivata benzoksazola i Schiffovih baza kao prekursora, uz reakcije potpomognute mikrovalovima i ultrazvukom te mehanokemijske reakcije, dodatno je ispitan utjecaj dvokomponentnog DES-a kolin-klorid/glicerol i trokomponentnog sustava D-sorbitol/urea/NH4Cl, pri čemu su se reakcije u dvokomponentnom DES-u pokazale najučinkovitijima od svih primijenjenih metoda. Paladijem kataliziranom Sonogashirinom reakcijom prethodno sintetiziranih 3-bromarilnih derivata benzoksazola 157–161 s alifatskim ili aromatskim terminalnim alkinima pripravljeni su 3-alkinilarilni derivati benzoksazola 162–173. Derivati 2,5-diarilbenzimidazola 183–191 sintetizirani su Suzuki-Miyaurinom reakcijom unakrsnog spajanja priređenih 5- klorbenzimidazolnih derivata 174–182 s fenilbornom kiselinom. 1,2,3-triazolni derivati hibrida benzimidazola i benzoksazola 199–208 sintetizirani su četverostupanjskom sintezom. U prvom stupnju su pripravljeni 2-merkaptobenzoksazoli 192 i 193 koji su s 2-klormetilbenzimidazolom prevedeni u hibride 194 i 195 te propargilirani na dušikovom atomu. 1,2,3-triazolni hibridi 199–208 pripravljeni su u zadnjem stupnju bakrom(I)-kataliziranom klik-reakcijom Npropargiliranih hibrida benzoksazola i benzimidazola 196 i 197 s odgovarajućim azidima 112– 115 i 198. Strukture novopripravljenih derivata potvrđene su 1H- i 13C-NMR spektroskopijom, a nekim spojevima dvodimenzijskim metodama HMBC, HSQC i NOESY te masenom spektrometrijom. Svim sintetiziranim derivatima 2-arilbenzazola ispitano je antiproliferativno djelovanje in vitro na niz tumorskih staničnih linija porijeklom iz čovjeka te antibakterijska aktivnost in vitro na Gram-pozitivne i Gram-negativne bakterije. Odabranim klasama benzoksazola i benzimidazola ispitana je i antivirusna aktivnost in vitro. Od svih ispitanih spojeva, najizraženiju antiproliferativnu aktivnost protiv stanica karcinoma pluća (NCI-H460, IC50 = 0.4 μM) pokazali su 5-brom-2-arilbenzoksazol supstituiran morfolinskim prstenom u položaju 4 fenilnog supstituenta 60 i 1,2,3-triazolni derivat 5-klorbenzoksazola 150, te protiv adenokarcinoma gušterače 3-alkinilfenilni derivat benzoksazola 170 (Capan-1, IC50 = 0.8 μM) i 2,5-diarilni derivat benzimidazola 188 (Capan-1, IC50 = 0.6 μM) supstituirani morfolinom u položaju 4 fenilnog supstituenta. Najsnažniju antibakterijsku aktivnost pokazali su 5- klorbenzoksazolni derivat supstituiran piperidinskim prstenom 68 (P. aeruginosa, MIC = 0.25 μg/mL; E. faecalis, MIC = 0.5 μg/mL) te 1,2,3-triazolni derivat 5-brombenzoksazola supstituiran pirolidinom 145 (E. faecalis, MIC = 1 μg/mL). Najizraženiju antivirusnu aktivnost pokazali su prema koronavirusu 3-heptinilfenilni derivat 5-klorbenzoksazola 162 (HCoV- 229E, EC50 = 3.8 μM), derivat 5-klorbenzimidazola supstituiran pirolidinskim prstenom 186 (HCoV-OC43, EC50 = 3.2 μM) i 1,2,3-triazolni hibrid 5-klorbenzimidazola i benzoksazola 204 (HCoV-OC43, EC50 = 3.2 μM; Zika virus, EC50 = 4.7 μM). Iz analize odnosa strukture i biološke aktivnosti razvidno je da na biološku aktivnost utječe prisustvo halogena na položaju 5 benzazolnog prstena te vrsta aminoalkilnog supstituenta u položaju 4 ili 3 fenila supstituiranog na položaj 2 benzazola.This doctoral dissertation describes the synthesis and structural characterization of novel benzoxazole and benzimidazole derivatives substituted at position 2 with aryl substituents, as well as their antiproliferative, antibacterial, and antiviral activities in vitro. In the synthesis of new derivatives and their precursors, in addition to conventional synthetic methods, approaches based on green chemistry principles were also employed, including microwave- and ultrasound-assisted syntheses, mechanochemical synthesis, and synthesis in deep eutectic solvents (DESs). The 2-arylbenzoxazole derivatives 49–84 were synthesized through a threestep process. The first step involved the synthesis of O-alkylated benzaldehydes 1–12 by alkylation of 4-hydroxybenzaldehyde. These were then condensed with 2-aminophenol in the presence of zinc oxide nanoparticles to form Schiff bases 13–48, which were cyclocondensed in the final step to yield the 2-arylbenzoxazole derivatives 49–84. The Schiff bases and 2- arylbenzoxazole derivatives synthesized by sustainable methods were obtained in high yields comparable to those of conventional synthesis, but with significantly reduced reaction times, demonstrating that the applied sustainable methods can be effectively used for the synthesis of similar classes of compounds with different substitutions on the benzoxazole ring. The 1,2,3- triazole derivatives of benzoxazole 116–151 were prepared through a four-step synthesis. In the first step, Schiff bases 85–93 were obtained by condensing benzaldehydes with appropriate 2-aminophenols. Their cyclocondensation with sodium cyanide yielded 2-arylbenzoxazoles 94–102, which were then propargylated to form O-propargyl derivatives 103–111. In the final step, copper(I)-catalyzed click reactions with previously prepared azides 112–115 afforded the 1,2,3-triazole derivatives of benzoxazole 116–151. Reaction condition optimization for the preparation of 1,2,3-triazole benzoxazole derivatives and their Schiff base precursors also involved microwave- and ultrasound-assisted reactions, as well as mechanochemical methods. The influence of a binary DES (choline chloride/glycerol) and a ternary system (Dsorbitol/ urea/NH₄Cl) was evaluated, with reactions in the binary DES proving to be the most effective among all tested methods. 3-Alkynylaryl benzoxazole derivatives 162–173 were synthesized via palladium-catalyzed Sonogashira coupling of previously prepared 3-bromoaryl benzoxazole derivatives 157–161 with aliphatic or aromatic terminal alkynes. 2,5- Diarylbenzimidazole derivatives 183–191 were synthesized through a Suzuki–Miyaura crosscoupling reaction of 5-chlorobenzimidazole derivatives 174–182 with phenylboronic acid. The 1,2,3-triazole derivatives of benzimidazole–benzoxazole hybrids 199–208 were synthesized via a four-step process. In the first step, 2-mercaptobenzoxazoles 192 and 193 were prepared and reacted with 2-chloromethylbenzimidazole to yield hybrids 194 and 195, which were then propargylated at the nitrogen atom. The 1,2,3-triazole hybrids 199–208 were obtained in the final step through copper(I)-catalyzed click reactions of N-propargylated benzoxazole– benzimidazole hybrids 196 and 197 with appropriate azides 112–115 and 198. The structures of the newly synthesized derivatives were confirmed by 1H and 13C NMR spectroscopy, and for some compounds, by 2D techniques such as HMBC, HSQC, and NOESY, as well as mass spectrometry. All synthesized 2-arylbenzazoles were evaluated in vitro for antiproliferative activity against a panel of human cancer cell lines and for antibacterial activity against Grampositive and Gram-negative bacteria. Selected classes of benzoxazoles and benzimidazoles were also evaluated for in vitro antiviral activity. Among all tested compounds, the most pronounced antiproliferative activity against lung cancer cells (NCI-H460, IC50 = 0.4 μM) was observed for the 5-bromo-2-arylbenzoxazole derivative 60 substituted with a morpholine ring at position 4 of the phenyl substituent, and for the 1,2,3-triazole derivative of 5- chlorobenzoxazole 150. Against pancreatic adenocarcinoma (Capan-1), strong activity was observed for the 3-alkynylphenyl derivative of benzoxazole 170 (IC50 = 0.8 μM) and the 2,5- diaryl benzimidazole derivative 188 (IC50 = 0.6 μM) substituted with morpholine at position 4 of the phenyl ring. The strongest antibacterial activity was shown by the 5-chlorobenzoxazole derivative substituted with a piperidine ring 68 (P. aeruginosa, MIC = 0.25 μg/mL; E. faecalis, MIC = 0.5 μg/mL) and the 1,2,3-triazole derivative of 5-bromobenzoxazole substituted with pyrrolidine 145 (E. faecalis, MIC = 1 μg/mL). The most potent antiviral activity was observed for the 3-heptynylphenyl derivative of 5-chlorobenzoxazole 162 (HCoV-229E, EC50 = 3.8 μM), the 5-chlorobenzimidazole derivative substituted with a pyrrolidine ring 186 (HCoVOC43, EC50 = 3.2 μM), and the 1,2,3-triazole hybrid of 5-chlorobenzimidazole and benzoxazole 204 (HCoV-OC43, EC50 = 3.2 μM; Zika virus, EC50 = 4.7 μM). Structure–activity relationship analysis revealed that the biological activity is influenced by the presence of halogens at position 5 of the benzazole ring and the type of aminoalkyl substituent at position 4 or 3 of the phenyl ring attached at position 2 of the benzazole
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
Stelarc and the Posthuman Body
No full textDoktorska disertacija Stelarc i posthumano tijelo nastala je na osnovi provedenoga istraživanja i teorijske analize pojma posthumanog tijela. U istraživanju bila je korištena kvantitativna metodologija primijenjena na strukturirani intervju sa Stelarcom, analiza studije slučaja (engl. case study), dokumentiranje pomoću filmskog zapisa te metoda promatranja ili opservacije sa sudjelovanjem i analizom diskursa. Teorijskim izvođenjem i primjerima iz Stelarcovih performansa nastojala se obrazložiti ključna postavka ovoga doktorskog rada, da se zahvaljujući novim tehnologijama bitno mijenjaju i estetske odrednice umjetnosti. Uz pomoć teorijske analize pojma posthumanog tijela prikazan je put prema izvedbenoj umjetnosti u paradigmatskom primjeru suvremenog umjetnika Stelarca. Teorijskim pristupom je pokazano kako posthumanizam u svojem prevladavanju ljudske prirode napušta čovjekovu tjelesnost i sve oblike ljudskosti iz sfere osjećaja i doživljaja u smjeru neljudskoga, postbiološkoga i natprirodnoga. Cilj doktorskog rada bio je sustavno istražiti i prikazati novo određenje odnosa uma i tijela, organskoga i strojnoga, te kako dolazi do promjene granica između prirodnoga i umjetnoga zahvaljujući djelovanju strojeva u digitalnom dobu. Ukazati kako tehnologija u suvremenim umjetničkim praksama spaja umjetnost i znanost i mijenja ideju lijepog te na primjeru Stelarcovih performansa prikazati kako dolazi do radikalnog mijenjanja arhitekture ljudskog tijela kao savršenog dijela prirode. Nakon provedenog istraživanja i analize u ovom doktorskom radu postavljene su teze o stvaranju novog identiteta unutar promijenjene tehnološke okoline, na primjeru bio-techno-art umjetnika Stelarca prikazan je proces kojim tijela postaju samostalni aparati i povezuje se pojam izvedbe u kontekstu posthumanog tijela, što dovodi do obrata u razumijevanju izvedbene umjetnosti posredstvom promjena tijela u okviru postmoderne estetike. Postavljene teze su potkrijepljene znanstvenim promišljanjima i radovima citiranih teoretičara umjetnosti i suvremenih filozofa.The doctoral dissertation entitled Stelarc and the Posthuman Body we will attempt to demonstrate the shift and the sliding of boundaries between the natural and artificial, prompted by the activity of machines in the digital age. For over two decades, Australian cybernetic and performance artist Stelarc has employed his manifestos, projects, performances and experiments to demonstrate that contemporary art is exceedingly intermeshed with the latest theoretical efforts in elucidating the relationship between the human body and both information-communication technologies and biogenetics. Consequently, in so doing, he has established himself as a unique and authentic artist, exploring the boundaries between the biological and the posthuman state, therefore, it is necessary to ascertain the relationship betweentheoretical reflexion and artistic expression itself in the interstitial space between body and technology. Furthermore, the aim of this dissertation is to open up space for redefining the relationship between the mind and body, between self-development and body design, as well as many other distinctions between the traditional conceptions of the organic/organism and machines. Late 20th century was the period of pivotal discoveries in the sphere of contemporary technosicences, especially in the field of biogenetics and biotechnology, with far-reaching implications for the notion of the body. This is most easily discernible in the theoretical and practical endeavours of the representatives of transhumanism and posthumanism – the interdisciplinary tendencies in philosophy, sciences, arts and technology. Improving and perfecting the cognitive and physical abilities of the human subject introduces numerous questions about the purpose of human existence under new technological circumstances. In terms of investigative and scientific method, by examining the case of contemporary artist Stelarc, the fundamental hypothesis of the dissertation will relate to the inauguration of an entirely new bodily identity, that is, an entirely novel sort of posthuman body that is genetically modified, designed and upgraded with the purpose of prolonging human life. Shaping and creating posthuman bodies, by means of combining robotics and artificial intelligence with the human body, Stelarc using his own body as example, in an intellectually stimulating and self-reflexive way echoes an already widely present phenomenon involving an experimental form of existence of posthuman organisms. That means that the human body assumes completely new meanings since, in place of biological determination, it is under constant influence of the need for upgrading, altering, redesigning and aesthetic intervention. The dissertation will also delineate the research performed via a film essay on Stelarc, featuring Stelarc’s visit to Zagreb in 2017, a lecture he held on the occasion, the exhibition of photographs at the Technical Museum Nikola Tesla in Zagreb and the scientific panel under the title „How can theoretical research foster scientific development in Croatia?” held at Vern’ University of Applied Sciences in Zagreb. The film essay will attempt to highlight a system in which bodies with technical implants are seen as our new techno-social and cultural environment, while their purpose is to facilitate better functioning in a complex network of digital and analogue means of communication. The title of the film Stelarc and Human + alludes to the notion of perfect human bodies, heralded by the posthuman age. These are not the bodies of robots or the bodies of beings with supernatural powers, but rather bodies that have been modified and upgraded in order to achieve longer life expectancy. The performance of such a posthuman body, which mimics the original function of movement, speech and body of a human one by means of artificial intelligence, resembles art without a body.The film essay will also demonstrate how the architecture and the evolution of the human body as a perfect slice of nature change through the interpolation of science and technology. The primary aim of this doctoral dissertation is to attempt, by theoretical analysis of the notion of the posthuman body, to arrive at the possibility of performance via the paradigmatic case of contemporary artist Stelarc, therefore, the film essay about him is not included merely to illustrate the pronounced connection between idea and performance. According to the central premise, it is only with the advent of the posthuman body that it becomes possible to view the human identity as fluid and de-centred, while these same categories appear in contemporary art in reference to the exploration of the crossing of boundaries between nation-states, sex/gender and society-culture. The reactions of the posthuman body comprise a symbiosis between the human and non-human, generating a new physical identity as a complex cybernetic network system. It is necessary to trace the process by which the body – in a constant search for ways to change and perfect it, which surpass the limits of the human mind – loses its identity, becoming, as Lacan termed it, a fractal body, and finally undergoing a complete transformation. Subject to constant metamorphoses driven by new technologies, the body is undergoing vertiginous changes. Simultaneously, in philosophy, sciences and arts, we are witnessing a transition from the classical, mechanical paradigm to an informational and cybernetic one, the principal characteristic of which is the increasing technologization of life, while technology itself becomes a precondition for generating a new definition of life. Conjoining technosciences with the human body engenders entirely new entities that, as an amalgam of artificial intelligence and the human body, herald a completely new generation of posthuman organisms controlled by a control panel or the power of the mind. Such a posthuman body in symbiosis with both the human and the non-human yields an entirely new bodily identity within the cybernetic network
Magazines of Split Literary Circle
No full textIstraživanje časopisne produkcije Splita i njegove okolice vodi u dva smjera. Prvi ide prema uvidu u postojeće časopisne funduse, u prvome redu splitske Sveučilišne knjižnice i drugih srodnih knjižnica (NSK Zagreb, Gradska knjižnica Split, Gradska knjižnica Zagreb), a drugi prema postojećim bibliografijama, koje su nastale prema tim fundusima (tzv. primarni izvori). Ostali izvori (tzv. sekundarni) odnose se na svu referentnu literaturu koja u svome interesu ima Split i časopise, posebice one književne, što je i predmet ovog rada. I jedno i drugo dovodi do glavnoga rezultata, a to je usustavljivanje, tj. evidencija korpusa i deskripcija čak 25 publikacija: Annuario dalmatico (1859.), Nada (1883.), Novi viek (1897.), Jug (1911.), Jug-Zvono (1912.), Renesansa (1921.), Savremeni vidici (1928.), Jadranska vila (1928.), Korablja (1929.), Pregnuća (1940.), Mladi Hrvat (1940.), Proljeće (1940.), Poezija (1941.), Književni Jadran (1952.), Peristil (1952.), Stvarnost (1952.), Mogućnosti (1954.), Vidik (1954.), Kerub (1967.), Čakavska rič (1971.), Rast (1974.), Mosorska vila (1991.), Hrvatska obzorja (1993.), Torpedo (1997.) i The Split Mind (2005.). Većina ovih časopisa su općeg tipa, jedini žanrovski je Poezija (1941.), koja je ujedno prvi nacionalni časopis za liriku. Svi oni u kontinuitetu pokrivaju razdoblje od nacionalnoga preporoda do danas. Ovako generirana dijakronijska slika „splitskoga književnog kruga“ konstituira posebnu granu kulturne tradicije jednoga grada i regije u politički i gospodarski izrazito nestabilnim uvjetima. U isto vrijeme re/konstruira se po mnogo čemu i opća slika nacionalne književne tradicije sa svim elementima njezine integracije i homogenizacije, ali i pune otvorenosti kulturi dijaloga. U takvoj je slici grad Split sa svojom okolicom svaki put imao važnu, više ili manje naglašenu ulogu središta, što je bitno utjecalo na njegovu strukturu i identitet. Takva pozicija tražila je inicijatore i protagoniste, tj. više ili manje organizirane i relativno stabilne oblike kulturnog života i njima prikladne medije. U tome smislu može se reći da su upravo časopisi u tradicionalnome kulturnome modelu imali vodeću ulogu u nastajanju, oblikovanju i očuvanju Splita kao kulturnoga i književnog centra.The research of magazine production in Split and its surroundings led us in two directions. The first one went through an insight into the existing magazine holdings, primarily of the Split University Library and other related libraries (National and University Library in Zagreb, Split City Library, Zagreb City Library) and into the existing bibliographies created according to these funds. We can call these sources primary. Others are secondary, related to all reference literature that focuses its interest in Split and magazines, especially literary ones, which are the subject of this work. Both of these led us to the main result, which is the compilation, that is, the record of the corpus and descriptions of as many as 25 titles that in continuity from the sixties of the 19th century until today give a picture of Split literary magazines and establish a special branch of the cultural tradition of a city and region, which in many ways also expresses the general image of the national tradition. This relatively extensive corpus is primarily the result of two basic criteria: that the magazine was published in Split or in its immediate surroundings, which gravitated towards Split as its center, and that not only was it declaratively directed at literary production but factfully as well, or at least to certain extent participated in generating and shaping the literary life of Split and its image. Namely, after the first printed books, then the first calendars, almanacs, magazines and newspapers during the 17th century, calendars and almanacs played an important role in the 18th century, then magazines and newspapers began to come to the fore. The new media reacted equally to technological and social changes, so both are changing with regard to the rhythm of appearance, the character of the articles and the target audience. Both experienced their peaks at the turn of the 19th and 20th centuries, when they began to be threatened by new, electronic media, which became dominant with the advent of the Internet at the turn of the 20th and 21st centuries (V. Brešić, Practice and Theory of Literary Magazines, 2017: 313). Both in Europe and in Croatia – with a small time delay typical of each periphery. While the beginning of the European tradition of magazines and newspapers is linked to the Paris Journal des sçavans (1665), the London Mercurius Librarius (1668) and the Daily Courant (1702), the beginning of the Croatian tradition is linked to the announcement of the Latin Calendarium Zagrabiense (1771) and the appearance of Agramer deutsche Zeitung (1786) and Kroatischer Korrespondent (1789), along with the messenger of the French administration in the area of Napoleon's Illyria Il Regio Dalmata – Kraglski Dalmatin (1806) and its successor Télégraphe officiel with (and allegedly) Croatian version (1810). The Italian Gazzetta di Zara was first published in Zadar in 1832, and on the wave of revival changes – after Gaj's Novine and the weekly Danicza Horvatzka, Slavonzka y Dalmatinzka (1835) – the most important magazine, Zora dalmatinska (1844) was also published. In the meantime, the first national cultural institution Matica hrvatska was founded in 1842, and Zagreb became a cultural center as well. The first Croatian newspaper in Istria Naša sloga was published in 1870, and Dubrovnik, as the center of older Croatian literature, had its own magazine Dubrovnik (1849- 52), then Slovinac (1878-84). Slavonija got its own magazine Slavonac in 1863, and with the help of Gaj and Matica hrvatska, the first Croatian magazine in Bosnia and Herzegovina, Bosanski prijatelj began to be published in 1850, etc. The politically and administratively fragmented space began to integrate into a unique national cultural space. Gaj and other revivalists thus created and shaped Croatian nation as a modern European cultural nation using a new medium (Ibid, 314). Of course, Split was also a part of that area; its periodicals began in a foreign language. Namely, the Annuario dalmatico was published in Italian, and most brochures of Dalmatian Croats during the revival were also written in Italian, including most of Narodni list - Il Nazionale (1862). The Annuario was not politically intoned, but in the second volume, a Slavic idea is visible, which went on the wave of the revival of national consciousness in Dalmatia as well, and which, after Gaj's impulse, was ignited in the circle around the aforementioned Zora dalmatinska from Zadar. Moreover, it was planned for the third volume to be issued separately in Italian and in Croatian, but in the meantime Il Nazionale – Narodni list was launched in Zadar in 1862, so the Split Annuario lost its raison d'être. On the trail of revival events and especially the triumph of right-wing politics, Nada (1883) appeared in Split, which already in its subtitle (Periodical for entertainment and instruction) reminds of Šenoa's Vienac, which August Šenoa had brought to its peak and made it the main national cultural tribune. Nada is not a competitor to anyone, but – as its editor writes – “only a response“ of the youth of Split. The extent to which Vienac served as a model can be seen from the song written by Jovan Sundečić honouring the exit of Nada – just as Ivan Trnski once did for Vienac. Young Kranjčević was among associates of Nada. Nada's Listak is rich and current, etc. The concept of cultural mobilization and national integration is noticeable at all levels. The experience that the national periodical gained by the end of the 19th century is best reflected in the place of its self-legitimization, so the third Split literary magazine Novi viek (1897) is no longer a paper for enlightenment (education and entertainment) but for literature, science and politics. It is edited by the distinguished writer, follower and supporter of Starčević Dr. Ante Tresić Pavičić, who did not manage well in the upcoming modernist turmoil – just like the circle around Zagreb's Matica hrvatska and “old Vienac“ – it would be shut down after 33 years. However, just like Nada, Novi viek succeeded in mobilizing Dalmatian writers and had the support of collaborators from Zagreb as well – among them are again S. S. Kranjčević and Jakša Čedomil, Mihovil Nikolić, Milan Begović, Vladimir Nazor, Ante Petravić and others. Besides poetry and prose, the editor Tresić Pavičić also published his historical drama Katarina Zrinska and a translation of a part of Dante's Divine Comedy. It seems that Novi viek has acquired the status of another center of the otherwise still very Zagreb-centric Croatian culture and literature – just as Kranjčević was successful with Sarajevo's Nada in those years. Milan Marjanović, the chief critic of Croatian literary modernism, showed that the gap between Zagreb and Split is getting smaller, and the national media network is getting denser. “In Spljet“ at the beginning of 1911, he starts and edits Jug, youth “the newsletter of Starčević's youth“ and immediately provokes the anger of Zagreb Savremenik, the newsletter of the young Society of Croatian writers, who seem to think that Jug is unnecessary in a period when there are too many literary magazines and too few subscribers. However, the Dalmatian public supports the paper, it needs less politics and “more sun“, it needs to connect the North and the South better, so that we are not strangers to each other. Although he gathered distinguished collaborators, Marjanović moved to Zagreb after the eighth issue to run the new magazine Val – “a magazine of Croatian and Serbian youth“ with young Čerina. At the beginning of 1912, tireless Marjanović merged his Split Jug with the Zagreb Zvono in a general independent review of the dual name Jug (Zvono) and the dual place of publication Spljet/Zagreb, so although more for declarative than real reasons, it was a strong cultural and political gesture that points to the idea of an integrated not only literary but also ideological-political scene. As many as eight magazines changed in the relatively short period between the two world wars. This fully corresponds, on the one hand, to the dynamics of public life, that is, to the turmoil and breakdowns at absolutely all levels of public life, and on the other hand, to the triumph of print media, which is experiencing its “golden age”. Renesansa was started in 1921 by the Split canon Ivan Delalle, a very active Christian intellectual and an engaged collaborator of Catholic newspapers, and his first and only collaborators are from that same circle. His idea is that “save the cultural unity of the homeland“ starts from Split, the city of “the first Croatian and Yugoslav book“, therefore it is also the “beginning of the first Yugoslav renaissance“ (sic!). Given that Giovanni Papini, a controversial and militant Italian writer, has the first say in the new paper, and that he openly advocates Serbian nationalism, the project was soon suspended. Savremeni vidici (1928), “an independent magazine for all contemporary cultural problems“ by Zvonko Krstić, was supposed to bring a weekly overview of all cultural issues through the prism of the youngest people of Split, those who did not participate in the war, but to continue the tradition of the oldest pre-war generation, which “in the city at the foot of Marjan” manifested ”the same aspirations with a lot of enthusiasm and a lot of perseverance, and to be the first harbinger of the return of old moral and spiritual values refreshed with new ideas of the 20th century“. The expression of these new ideas is definitely Vinka Bulić's article On feminism, which largely corresponds to what Marija Jurić Zagorka is doing in Zagreb. Such is the nature of the issue of a unified speech and language in Zagreb and Belgrade, which is debated on both sides, but is also produced on strange mixtures of Serbian and Croatian, Ekavian and Ijekavian – mainly on the Croatian side in the name of a political principle: one dialect, one script and one spelling. Not long after Savremeni vidici, “a family magazine for literature and culture“ appeared in mid-summer of the same year, 1928, under the name Jadranska vila of the Omiš bookseller and writer Jakov Tomasović. Even though it is “the only literary paper on our Adriatic today, the cradle and focal point of our culture“, Tomasović does not like the ignorant attitude of some Zagreb newspapers towards his “Vila“ – they will not even advertise it, because they consider it “some obscure provincial paper“. During the period of the most intense so-called 6 January Dictatorship, in May 1929, another literary review began to be published in Split – Korablja. Although, despite the unfavourable circumstances, it started out relatively ambitiously (to be published four times a year), only two issues were published. Its goal “to give Dalmatia literary and artistic reading and to serve spiritual gathering and culture“ will fail on the second step, leaving spiritual culture at the level of Cinderella (“there is not enough political, social, or economic material“) – in short: “The atmosphere is not favourable for us“. That the situation was truly serious is obvious from the fact that the next paper in Split would not appear until February 1940. It was “a youth art magazine“ by Duško Kečkemet and Ivo Miše under the title Pregnuća. It is actually a student paper, a project of the Student Literary Association “Luka Botić“ at the State Male High School in Split. Only two issues of the planned monthly periodical were published. However – at the same time, Pregnuća gained its followers, in March 1940 Proljeće, “the paper of high school female students“ and Mladi Hrvat were published. The magazine Proljeće is almost identical to the magazine Mladi Hrvat, however one was for male and the other for female students. This fact was probably considered by the members of the editorial board, so Proljeće stopped being published after the fourth issue; the news was announced in the 4th issue of Mladi Hrvat, stating material circumstances as the reason for the shutdown of Proljeće. However, at the end of this, tentatively speaking, central phase of Split literary periodicals, which we limited by the years of two world wars, a magazine dedicated only to poetry appeared quite unexpectedly. It was the first time in our country, so Poezija from Split (1941) was truly the first national genre magazine and the first magazine for poetry. It was started, published, edited and mostly completed by Split lawyer, poet, storyteller and translator Branko Storov. Storov was of broad culture, well versed in the world of literature, had refined taste and the type of poetry he preferred. However, Poezija remains, first and foremost, a private enthusiastic project launched in a delicate time and because of all that it was marginal and relatively quickly fell into oblivion. Almost thirty years will pass until new magazines dedicated exclusively to poetry begin to appear, but different in almost everything from their pioneering predecessor from Split. After an almost ten-year hiatus, a new wave of Split magazines followed after the Second World War and post-war period with all the tectonic disturbances that did not bypass culture, literature, and consequently its media. The new, first and foremost, ideological paradigm was deeply inscribed in a series of almost a dozen periodicals in Split and its surroundings, and all this is obviously accompanied by new discursive practices. The first monthly magazine of the Split-based Newspaper and Publishing Company “Slobodna Dalmacija“ was entitled Književni Jadran (1952), edited by the so-called “Editorial board“, and the signed “chief and responsible editor“ was Hranko Smodlaka. The editors of the new magazine assessed that “the cultural life of the coastal region today flows quite unevenly, in several separate centers, and some regions hardly even participate in it“, so now it is up to “our literary workers to come before the public with their magazine“. The first issue is welcomed by Vicko Krstulović, who hopes that the Književni Jadran will contribute to “the development of advanced ideas“ and the “struggle of people for a new world“ – “always keeping in mind the ideal of freedom of thought for which so many fighters have given their lives over the centuries and the construction of socialism – the life path of Tito's Yugoslavia“. In the same 1952, two more magazines appeared. The first is Peristil – “a review of literature and art“ named after the most famous square in Split in front of the cathedral of St. Dujam in the old center of Split. The chief editor was Davorin Rudolf, and the managing editor was Davor Šošić, who criticizes the condition of our literature and states that it has no resonance in the world: “Our literature needs works that will take it beyond our borders, works that will overflow with youth!“ and adds: “Young writers are a necessity for a literature that wants to exist and that wants to live!“. Šošić is also the author of the “inappropriate“ poem Tri pljuvanja (Three Spits). Although after the political drama of the Cominform, in 1952 the political scene at that time began to liberalize, and it was the young people who were the first to take advantage of this, and Peristil found itself a target of dogmatic critics, although prepared, the second number was not published. The second, that is, the third magazine from Split in the same 1952 was Stvarnost – “youth literary magazine“, that is, “magazine for literature and art“ edited by Mirko Prelas, and its publisher was the Central Literary Section of Youth for the city of Split. However, this magazine was also shut down after the third issue. Moreover, according to the records, this happened despite the claim of the editorial board that they “sorted out the financial situation“, so thanks to “the People's Government primarily“, the magazine “will be published regularly“. Perhaps more revealing is the statement of the same editorial board that “our magazine has no pretensions to 'lead' and become an organ of some 'rebellion' and 'revolutionism', but to publish the works of young people from our region (maybe from other regions as well), to show through their work how much young people can accomplish“! In the 23rd issue (November 1953) in Književni Jadran there was news about the establishment of the subcommittee of “Matica hrvatska“ in Split, and Književni Jadran certainly welcomes this act. One of the results of that act was the establishment of yet another literary magazine, which will bring to life not only Split cultural and literary scene, but also the entire practice of literary magazines, in which institutions – even when they themselves are unstable for any reason – will be the best guarantor of the durability and quality of any magazine (V. Brešić, Reading Magazines, 2005: 79). That new magazine was Mogućnosti – a magazine for literature, art and cultural issues, firstly edited by Matica hrvatska, then the Department of Literature and Culture of the Chakavian Assembly and finally the Split Literary Circle. It appeared in January 1954 and with a relatively stable rhythm and continuity it is published even today. The editorial policies of Jure Franičević Pločar and especially Živko Jeličić were crucial, and the temporary atmosphere of relaxation of dogmatic socialism and Yugoslav unitarism was in their favour. In such an atmosphere, Vidik was launched in 1954, which grew out of the Youth Literary Section and it soon grew into a provocative magazine of young writers in Split, often strongly opposing and rivalling Mogućnosti. Along with the important publishing activity of the editorial offices of both magazines, Split was turned into a strong and recognizable, not only regional, but also national literary center. The appearance of the first and only issue of Kerub (1967) – the magazine of the Split branch of the literary group Tin – can be explained in its own way by the thesis of the aforementioned liberalization of the cultural space in the sixties and seventies of the 20th century. Different from other magazines in many respects, Kerub openly calls this “atmosphere“ “the second Croatian revival“, as soon evidenced by the events from the Declaration on the Name and Status of the Croatian Literary Language (1967) to the Croatian Spring (1971). Although a philological magazine rather than an eminently literary one, Čakavska rič (1971) refers to the complex structure of national literature with its “study of the Croatian Chakavian word“, as it is realized in several Croatian “languages“, that is, in the standard and in three dialects. The relationship towards this fact is also complex, but it was precisely in this period of the 60s and 70s that the work on equal treatment of the linguistic media of Croatian literature was intensified, trying to turn one specificity into national cultural and artistic capital. What magazine Kaj (1968) does for Kajkavian, Čakavska rič does for Chakavian, whose first publisher was The Branch of Matica hrvatska, and when the branch was closed, Chakavian Assembly – Department of Literature and Culture, a newly founded publishing house in Split, and after its shutting down the Literary Circle. The reforms that started in the sixties, and which culminated in the Croatian Spring, proved to be too demanding for the ruling politics and dangerous for the regime at the time, so a counterattack followed, first of all, against any form of national exposure (the so-called “Croatian silence“). This can be seen in the Split magazines of the ti
Roman roads in northwestern Croatia with a special focus on the „Podravska Magistrala“ road
No full textOvo istraživanje analizira strukturu i funkcionalnost rimskih prometnih mreža u sjeverozapadnoj Hrvatskoj primjenom arheologije krajolika, kroz analize u geografskom informacijskom sustavu, Least Cost Path (LCP) modeliranje i evaluaciju arheološko-povijesnih pokazatelja. Cilj je bio testirati hipotezu da su rimske prometnice bile oblikovane prema optimalnim geoprometnim koridorima te procijeniti njihovu vojnu, administrativnu i gospodarsku ulogu. Fokus istraživanja bio je na Podravskoj magistrali (Poetovio – Mursa), čija je rekonstruirana trasa potvrđena kao ključna prometna osovina sa jasnim linearnim pružanjem kroz krajolik. GIS modeliranjem omogućen je detaljniji uvid u vicinalne komunikacije, u kojemu je ona također igrala ključnu ulogu, a koji su dosada bili slabije poznati i istraženi.
Rezultati su pokazali visoku podudarnost modeliranih pravaca s arheološkim nalazima. Andautonia – Aqua Viva i Siscia – Aquae Balissae potvrđene su kao važne interregionalne komunikacije, dok su unutarnje trase poput Siscia – Lentolae i Pyrii – Aquae Balissae prepoznati kao potencijalni novi elementi mreže rimskih sporednih cesta. Posebna pažnja posvećena je analizi riječnih prijelaza, pri čemu su pretpostavljeni rimski mostovi kod Narte, Mlinovca i Jelkovca identificirani kao geoprometno značajna čvorišta-položena na optimalnim pozicijama. Unatoč metodološkoj preciznosti, izazov u radu predstavljaju nedostatak in situ potvrda za pojedine dionice i trase, kao i nedostatak mogućnosti primjene dodatnih metoda u istraživanju primjerice geofizičkog karaktera. Primjerice, dodatna i ciljana LiDAR snimanja, magnetometrija i geoelektrična tomografija mogli bi značajno pridonijeti preciznijoj verifikaciji modeliranih koridora.
Zaključno, istraživanje potvrđuje važnost interdisciplinarnog pristupa u analizi rimskih prometnih mreža, omogućujući bolje razumijevanje dinamike rimskog prometnog krajolika. Buduća istraživanja trebala bi se usmjeriti na daljnju arheološku validaciju modeliranih pravaca i njihovu integraciju u šire digitalne baze rimskih prometnica, čime bi se dodatno unaprijedila rekonstrukcija i interpretacija rimske infrastrukture u Panoniji.The study of Roman roads in northwestern Croatia has a long research tradition, yet previous approaches relied heavily on historical sources and topographical interpretations, often lacking systematic archaeological verification. Despite the extensive documentation of itineraries such as the Tabula Peutingeriana, the precise positions of the routes, road stations and how they could function, remain unclear due to fragmented archaeological and historical evidence and the absence of targeted research connected with the landscape. In recent years, the development of digital archaeology and landscape analysis has revolutionised the study of ancient infrastructure, providing new methodologies for reconstructing road networks. This research integrates Geographic Information Systems (GIS) and Least Cost Path (LCP) modelling to identify optimal communication corridors based on topographical, hydrological, and geostrategic factors, offering a dynamic reassessment of Roman transport infrastructure. The primary focus is on the Podravska Magistrala (Poetovio – Mursa), a major route in the Roman province of Pannonia, whose precise trajectory and functional role have remained debated. By correlating LCP-generated corridors with known archaeological data, this study aims to verify the historical alignment of key routes while identifying previously unknown vicinal roads that linked urban centres, military sites, and economic hubs. In addition to reconstructing interregional connections, this research examines the road network hierarchy, highlighting the significance of local infrastructure in facilitating trade, administrative control, and military logistics. The findings challenge traditional interpretations, suggesting that Roman engineers adapted road alignments to natural obstacles and strategic considerations rather than adhering strictly to straight-line paths recorded in itineraries. This study represents the first comprehensive digital reconstruction of Roman roads in northwestern Croatia, providing a methodological framework for further research. By integrating digital tools with archaeological evidence, the research contributes to a more refined understanding of the spatial organisation of the Roman road network, offering valuable insights for future investigations, including geophysical surveys and archaeological fieldwork. Through this interdisciplinary approach, the study advances knowledge of Roman infrastructure in Pannonia and lays the groundwork for broader comparative analyses within the Roman Empire.
The northwestern region of Croatia, bordered by the rivers Sutla, Ilova, Mura, Drava, and Sava, represents a geographically diverse and strategically significant area. Situated at the crossroads of Alpine, Pannonian, and Dinaric landscapes, this region has historically played a vital role in communication and trade within Central Europe. The natural features of this landscape have significantly influenced transport routes, settlement patterns, and economic activities, shaping its historical development. From a geomorphological perspective, the region can be divided into three primary units: alluvial plains along major rivers, gently rolling hills, and mountainous areas. These distinct landscapes dictated the organisation of transport networks, with the river valleys and lowlands facilitating major longitudinal roads, while transversal routes connected the highlands and interior regions. The presence of natural corridors through hills and valleys shaped the structure of ancient roads, ensuring efficient connectivity across the territory. Throughout antiquity, this region was an integral part of the Roman province of Pannonia, which was administratively reorganised during the reigns of Trajan and Diocletian to improve governance and logistical efficiency. Northwestern Croatia became part of Pannonia Savia, with Siscia (Sisak) serving as a major administrative and military hub. This provincial framework necessitated the development of a well-structured road network, linking key urban centres like Poetovio (Ptuj), Mursa (Osijek), and Andautonia (Ščitarjevo) to the broader infrastructure of the empire. Roman engineers designed roads to follow the natural contours of the terrain, integrating mutationes (relay stations) and mansiones (rest stations) to facilitate state-controlled communication and transport.
The Podravska Magistrala, following the Drava River corridor, was one of the most significant Roman routes in the region. While previous studies primarily relied on historical and topographical sources to reconstruct its course, modern analyses indicate that this road was not just a singular linear route but also a structured system of interconnected road stations and routes. This network provided vital connections between Panonnian settlements and extended towards Italy and the Balkans. Longitudinal routes along the Drava and Sava rivers formed the backbone of regional connectivity, while transversal roads facilitated trade and military logistics by linking interior settlements with strategic centres. The impact of the Roman road network on contemporary infrastructure is also notable. Modern highways often follow similar trajectories to their ancient predecessors, particularly in regions where topography dictated stable and efficient routes. Studies suggest that shifts in road alignments occurred mainly in river valleys, where seasonal flooding or erosion prompted adjustments over time.
Understanding the relationship between natural geography and transport development in northwestern Croatia offers valuable insights into the province’s integration into the cursus publicus, the Roman imperial transport and communication system. The layout of roads, combined with structured settlement planning and administrative organisation, underscores the strategic importance of this region within the empire. Future research integrating geophysical prospection, LiDAR surveys, and systematic excavations will be crucial for further refining the understanding of Roman infrastructure in this part of Pannonia.
The history of research on Roman roads in northwestern Croatia spans over two centuries, beginning in the late 18th century with scholars such as M. P. Katančić and I. Kukuljević Sakcinski, who relied on historical sources, epigraphy, and early archaeological observations. Their works laid the foundation for understanding the Roman road network, with a strong emphasis on the interpretation of ancient itineraries and the identification of key road stations. During the 19th and early 20th centuries, research remained primarily historiographical and topographical, with scholars utilising written sources and aligning them with archaeological findings. Notable contributions include the works of Katančić, who first proposed the location of Andautonia (modern Ščitarjevo), and Kukuljević Sakcinski, who compiled available data on Roman infrastructure in his seminal work Panonija rimska (1873). These early efforts were largely focused on defining the routes of major Roman roads, particularly the itineraries recorded in ancient sources. The methodological approach saw little change until the mid-20th century when M. Fulir and B. Vikić began incorporating systematic field surveys and archaeological reconnaissance into research. This shift marked an important transition from purely historiographical studies to more empirical, site-based investigations. The use of cartography also gained prominence, with researchers such as K. Miller and J. Klemenc providing some of the first detailed maps of Roman road systems in the region. Despite these advancements, much of the research remained focused on the identification of main itineraries rather than a broader understanding of the Roman transport network's relationship with the surrounding landscape. The late 20th and early 21st centuries introduced new technologies, including GIS and remote sensing, which allowed for more refined analyses of Roman roads. Recent studies have highlighted the need for an integrated approach that combines historical research, archaeological survey, and digital methodologies to gain a more comprehensive understanding of Roman road infrastructure. Although significant progress has been made in documenting Roman roads, major gaps remain, particularly in the validation of proposed routes through systematic archaeological excavation. The increasing application of modern landscape archaeology and geospatial analysis presents an opportunity for a more nuanced interpretation of how Roman roads were integrated into the broader settlement and economic systems of Roman Pannonia.
During the reign of Emperor Augustus and following Tiberius’ Pannonian War, the region of present-day northwestern Croatia became an integral part of the Roman province of Pannonia, requiring strategic infrastructural adaptations to its diverse geomorphological landscape. At its peak under Emperor Trajan, the Roman Empire connected vastly different terrains—from the Pannonian plains to Alpine mountain regions—through an advanced road system designed to facilitate mobility, trade, and centralised control. Roman engineers adapted road construction to geographic and environmental conditions, following natural communication corridors while implementing engineering solutions such as bridges, embankments, and drainage infrastructure to ensure road stability across challenging terrains. This study examines the hypothesis that Roman roads in northwestern Croatia were strategically aligned with natural communication routes, optimising connectivity between settlements, military outposts, and economic centers. Comparative studies from Britain, Lebanon, Spain, Portugal, Austria, and Hungary indicate that Roman engineers consistently sought to integrate roads with pre-existing routes, adapting them to local conditions rather than imposing rigid straight-line alignments. By applying GIS-based spatial analysis, Least Cost Path (LCP) modelling, and network analysis, this research reconstructs road trajectories and evaluates their correlation with known archaeological sites. Three key hypotheses guide this analysis: that Roman roads followed natural communication corridors, that rivers and wetlands were not obstacles but integrated into the transport network through infrastructural adaptations, and that spatial analysis confirms a strategic placement of roads in relation to military, administrative, and economic priorities. The objectives of this study are to reconstruct the Roman road network using digital modelling, establish a chronological framework based on archaeological correlations, analyse the influence of geomorphology on transport infrastructure, and develop a spatial model that contributes to future research. This interdisciplinary approach integrates historical, archaeological, and geospatial methodologies, offering a comprehensive framework for analysing Roman transport networks in northwestern Croatia. The findings contribute to a broader understanding of Roman mobility and infrastructure planning in Pannonia, providing a methodological model applicable to comparative studies across the Roman Empire.
The methodological framework of this study is based on landscape archaeology and archaeomorphology, integrating traditional and modern approaches to reconstructing the Roman road network in northwestern Croatia. By combining GIS analysis, Least Cost Path (LCP) modelling, and network analysis, the research identifies and verifies potential Roman routes. The study employs remote sensing techniques, LiDAR, historical cartography, and field surveys, creating a digitised and georeferenced dataset for spatial and geo-transport analysis. The research is structured into several phases, including data collection from historical sources and archaeological records, digitalisation and georeferencing of maps, GIS-based spatial analysis, and data visualisation through cartographic modelling. LCP analysis is particularly emphasized as a tool for reconstructing the most optimal movement corridors, balancing topography, distance, and terrain resistance, aligning with known archaeological sites. The study also integrates network analysis, allowing for a broader evaluation of road connectivity and strategic positioning within the Roman administrative framework. Field surveys and targeted archaeological test excavations serve as validation methods, verifying digital model predictions and confirming road traces. This multidisciplinary approach provides a dynamic and evolving model of Roman transport infrastructure, adaptable to further research and comparative studies within the broader provincial context of Pannonia.
The study of Roman road networks relies heavily on in situ archaeological remains, which provide more reliable data than historical and epigraphic sources. Scholars such as Bojanovski and Kolb emphasise that direct archaeological evidence is crucial for verifying road alignments mentioned in itineraries. This research follows the methodological framework of landscape archaeology, integrating spatial analysis with material remains to reconstruct Roman communication structures. Key archaeological indicators used in this research include direct evidence such as road remains, bridges, and milestones, as well as indirect indicators like necropolises, hoards, and settlements. The study systematically compiles and categorises these data, creating a GIS-based database for further spatial analysis. The integration of field surveys, digital cartographic sources, and previous research has allowed for a more precise georeferencing of archaeological sites, improving their usability for spatial modelling. Among the direct indicators, the study examines documented road segments, including remains in Šćitarjevo, Bjelovar, Ludbreg, and Varaždinske Toplice. Bridges and river crossings, such as the suspected Roman bridge in Jalkovec and the confirmed wooden bridge at Narta, are analysed for their strategic importance. Milestones, though rare in the region, provide additional confirmation of Roman road routes, such as those found in Jalkovec and Petrijanec. Indirect indicators, including Roman necropolises, serve as spatial markers for road placement, given their frequent alignment along transportation routes. The distribution of Roman-period hoards also correlates with major Roman roads, suggesting economic activity along these corridors. Settlements, categorised as urban centres, vici, or villae rusticae, further contribute to understanding the functionality of the road network. The research incorporates a classification of settlements, following comparative studies from other Roman provinces, and integrates data from digital resources such as the Croatian Institute of Archaeology’s BAZA database. The findings highlight the significance of GIS technology in reconstructing Roman road networks and suggest that integrating archaeological, spatial, and historical data provides a more comprehensive understanding of ancient mobility patterns. The study also underscores the need for further archaeological validation, particularly in areas where digital models suggest road alignments but in situ confirmation is lacking.
Classical sources, such as ancient itineraries, provide essential information for reconstructing the Roman road system in northwestern Croatia. Key documents include the Antonine Itinerary, the Itinerarium Burdigalense, and the Tabula Peutingeriana, which offer a historical framework for understanding road networks and identifying way stations. Epigraphic evidence, such as the milestone from Jelkovec, further corroborates the existence of these roads. This chapter analyses the topography of Roman transport infrastructure based on historical records, comparing them with field survey results and remote sensing data to refine previous interpretations. The Roman road system in this region comprised major itineraries such as Poetovio-Mursa (Podravska magistrala), Poetovio-Siscia, and Siscia-Mursa, all essential for military, administrative, and economic connectivity. Several road stations, including Halicanum, Aqua Viva, Populi, Iovia Botivum, Pyrri, and Varianae, played a significant role in facilitating Roman mobility. The study also addresses unresolved questions regarding their exact locations and functions. Moreover, the chapter highlights the importance of vicinal roads in linking local settlements to primary routes, with potential sites identified through historical sources and archaeological investigations. The integration of remote sensing, topographical studies, and fieldwork has allowed for a more precise reconstruction of these routes, emphasising their role in regional connectivity and economic organisation during the Roman period.
Further on, this work focuses on the GIS analysis and interpretation of itineraries and Roman road stations in northwestern Croatia. Despite the existence of historical sources such as the Bordeaux Itinerary, the Antonine Itinerary, and the Tabula Peutingeriana, which provide crucial information about distances and the sequence of road stations along the Roman Podravska Magistrala, the precise localisation of these stations remains an unresolved issue. The discrepancies between different ancient sources, inconsistencies in recorded distances, and the fragmentary nature of archaeological data complicate the identification of these stations. This chapter employs an interdisciplinary approach, integrating historical sources, archaeological evidence, and GIS-based spatial analysis to improve the understanding of Roman road networks. Special emphasis is placed on the relationship between road stations and the cursus publicus system, highlighting the role of mansiones and mutationes in ensuring efficient connectivity across the province. Through GIS modelling, the study evaluates the accuracy of ancient itineraries by comparing reconstructed road distances with historical records and known archaeological sites. The analysis supports the hypothesis that Roman road infrastructure was strategically planned, considering both topographical constraints and logistical requirements. However, further archaeological fieldwork and remote sensing analyses, such as LiDAR surveys, remain necessary to refine the localisation of key stations and confirm the hypothesised alignments of these ancient roads.
The relationship between land use and socio-political development was central to Roman civilisation. Land distribution and agricultural organisation were regulated through centuriation, a cadastral system that structured land in standardised units for efficient resource management and settlement planning. This study examines the link between Roman land division and road infrastructure in northwestern Croatia, with a focus on the centuriation patterns and their impact on the layout of the road network. Centuriation, as evidenced in various Roman provinces, often integrated roads as boundary markers, aligning them with agricultural divisions. This was observed in numerous case studies across Italy, Gaul, and Pannonia, where systematic land division influenced the orientation and planning of road networks. Despite the prevalence of centuriation studies in other regions, systematic research on its application in northwestern Croatia remains scarce. However, preliminary investigations indicate potential centuriation patterns around Andautonia and Varaždinsko polje, suggesting a structured approach to land and road planning in the area. Two case studies were conducted: the Dumovečki Lug region, located