120 research outputs found
The Eucharist - the Source of Family Life
No full textThe author identifies the celebration of Passover in Israel as a precursor of the celebration of the Eucharist, noting its pedagogical function in the family. The parallel significance of the symbolism of Passover and the Eucharist in Christian life is disucssed. A series of statements about the Eucharist from the Christian standpoint demonstrate its centrality in the spiritual lives of behevers
Education of the conscience - education for a new age
No full textThe conscience is »the place« of the most intimate dialogue between God and man. It is, therefore, the source and the beginning of every dialogue between people. Education of the conscience means purification of this source, providing it with objectivity and benevolence. Jesus Christ does not employ the word »conscience«. He uses the word »heart« instead, thus encompassing man as a whole. The heart is »man's most mysterious nucleus and sanctuary where he is alone with God, whose voice echoes through his own intimate worlds (GS, No. 16). One can have an uneducated, malformed conscience, but it is not necessarily a bad one.
Education of the conscience is founded, first of all, on our acknowledgment and acceptance of the will of God during every moment and in every situation of our life, and our making it the measure of our thoughts and acts. In the attempt to educate the conscience, two essential elements must be taken into account: acceptance of changing our thoughts and attitudes; there must be clear light, clear perception, clear principles according to which our attitudes are to be changed.
In our country: religious ignorance influencing practical attitudes in the process of renewal of the motherland; irresponsibility in the preparedness to serve others; »lackey mentality« which sees only the negative; relets of communist mentality: »Take as much as possible, give as little as possible!« In the world: moral principles are weak; human will is incapable of choosing the true and the good, instead of the agréable and the useful; desire of the stronger for domination over the weaker; in principle, a negative attitude towards everything catholic
Three Meetings of Architects Slavko Löwy and Drago Ibler
No full textZaključivši popis djela arhitekta Slavka Löwyja (Koprivnica 1904.-Zagreb 1996.) jednog od sustvaratelja hrvatske moderne arhitekture 30/ih godina, nametnula se tema njegovih "bliskih susreta" s najistaknutijim akterom razdobjla - arhitektom Dragom lblerom (1894.-1962.). Iblerov opus već je temeljito interpretiran, dok valorizacija Löwijeva djela tek predstoji. Obojica su, u razmaku od deset godina, diplomu stekli kod Martina Dülfera na Visokoj tehničkoj školi u Dresdenu. Autorica analizira tri profesionalna susreta Drage Iblera i Slavka Luowyja, kao konkurenata na zagrebačkim lokacijama za koje su između 1933. i 1936. godine, raspisivani natječaji za ugrađene stambene ili stambeno-poslovne zgrade, koje su uglavnom bile realizirane prema Luowyjevu projektu. Analiziraju se specifičnosti rješenja obaju autora, kao i njihova moguća zajednička polazišta.After completing the list of works by the architect Slavko Lowy (Koprivnica 1904 - Zagreb 1996), who was one of the creators of modem Croatian architecture of the 1930s, the author addressed the subject of his meetings with the most prominent architect of that period, Drago Ibler (1894.1962). Both of them graduated with Martin Dulfer at the High Technical School in Dresden in a period of ten years, but while Ibler's opus has been interpreted in detail, the evaluation of Lowy's work is still to come. The author analyses three professional meetings of Drago Ibler and Slavko Lowy as competitors at competitions for inserted residential or residential-business buildings on Zagreb locations between 1933 and 1936. Most of the buildings were built according to Lowy's design. Although Ibler approached the theme of the skyscraper in many of his projects, it was the younger Lowy who built Zagreb's first high-rise. He won first prize at the narrower competition for the Radovan corner building between Masarykova and Gundulićeva Streets in 1933. Ibler built his first high-rise after the Second World War. In 1935 comfortable houses in close contact with nature had to be designed on the steep ground between Ribnjak park and Novakova Street. Ibler suggested two buildings on the edges of the lot with a green garden between them, but Lowy's design of one very deep building (in fact two with a common stairway) with green terraces climbing up the hill was accepted (20 Ribnjak). Almost at the same time Ibler built his anthological Markulin residential building on No. 16 of the same street. When the area of the former Zagreb Fair in Martićeva Street began to be built up in 1936, lbler designed the corner building at 14c Martićeva for the Wienerbankvereing, and Lowy built the adjacent house in 4 Bulićeva Street for the same investor, although Ibler was originally to have built both buildings. The author analyzes the specific solutions offered by both acrhitects, and their possible common starting points
THE DRAMA OF GENERAL SLAVKO KVATERNIK'S LIFE
No full textAutorica prati političko djelovanje Slavka Kvaternika, ministra hrvatskog domobranstva. Članak izlaže Kvaternikova polazišta tridesetih, kada on pripada krugu domovinskih nacionalista, i njegovu ulogu u Nezavisnoj Državi Hrvatskoj 1941.-1945. Autorica ukazuje na Kvatemikovu javnu djelatnost, u kojoj prevladava njegov antagonistički odnos prema krajnjoj nacionalnoj desnici oko Poglavnika A. Pavelića.The author surveys the public activities of Slavko Kvaternik, one of the leading Croatian nationalists of the 1930s, and for a time, minister of the Croatian Home Army during the Second World War (1941-1942). The article argues that Kvaternik occupied a peculiar position with respect to the radicals grouped around Ante Pavelić, the leader of the Ustasha regime. Kvaternik was not a ideologue of the Independent State of Croatia (NDH), nor did he agree with Pavelić's repressive internal policy or Pavelić's dependence on fascist Italy. Because of this conflict, Kvaternik was pushed out of office and left Croatia at the end of 1942. None of these facts prevented the Yugoslavian government from proclaiming him a »war criminal« and carrying out the death sentence in 1947
Marcel Odenbach. Konzept, Performance, Video, Installation 1975 – 1998
No full textSlavko Kacunko’s dissertation represents the first monograph on one German video artist. In view of the utter rarity of examinations of this kind, an aim has consisted in elucidating a series of fundamental standpoints. Among them was the attempt to make the methods of art history productive for the medium of video, without neglecting the aspect of media aesthetics. This was the only way that would enable the author to take a third route, between the traditional art-historical approach on the one hand and the approaches of media theorists on the other, and to set as an absolute precondition the analysis of the individual work. EXCERPTS FROM THE PRESS RELEASE drupa 2000English„Art history pioneer achievement in the field of video art. The 36-year old Duesseldorfer gained the award for his dissertation on „Marcel Odenbach. Concept, Performance, Video. Installation from 1975 to 1998“ ... Dr. Kacunko´s thesis has wider parameters than its title may perhaps suggest. It not only explores Marcel Odenbach´s creative output but structures the framework of video art in Germany and sets it in the context of art history, from its advent in 1970s to the present day. Albrecht Bolza-Schünemann welcomed this choice of topic: „In essence, Dr. Kacunko tackles an issue that has riveted the printing and media industry for years: how to deal with new media and make the most of their creative and technological potential.“ By examining Marcel Odenbach´s works, Dr. Kacunko illustrates the vast creative sweep of video art, considering its cognitive, technical and aesthetic aspects.To have documented in such cogent – and comprehensive – a manner the significance of the video artist Marcel Odenbach and what sets his oeuvre apart, is in itself a considerable feat. But the insights so gained go beyond his oeuvre and lay the foundations for a future, sound art-historical practice in dealing with video or media art in general. Therefore this book deserves recognition as a pioneering contribution to an art history of video art.FrenchLe Laurèat drupa de l`annèe 2000 s`appell Slavko Kacunko. Ce Düsseldorfois de 36 ans sera `recompensè pour sa thèse sur la thème Marcel Odenbach. Concept, performance, vidèo/ installations de 1975 à 1998. C`est la 25ème fois dèjà que Messe Düsseldorf hohore ainsi, en sa qualitè d`organisateur de drupa, un excellent travail scientifique et contribue, avec un prix d`un montant de 10.000 marks, à la puplication et à la diffusion de la thèse. Joachim Erwin, premier maire de Düsseldorf et prèsident du conseil de surveillance de Messe Düsseldorf, et Albrecht Bolza-Schünemann, prèsident de drupa 2000 et prèsident adjoint du directoire de Koenig & Bauer AG, remettront le document officiel à Monieur Slavko Kacunko le 22 mai lors d`un acte solennel dans le cadre de drupa 2000. Même si le titre de la thèse le laisse supposer à première vue, dans son travail Monsieur Kacunko ne se limite pas à l`acation artistique de Marcel Odenbach. Il donne sumulatenèment une structure à l`histoire allemande de l`art vidèo et la situe dans le contexte de l`histoiere de l`art – de la situation de dèpart en 1970 au prèsent.Albrecht Bolza-Schünemann s`est particulièrement rèjoui du thème choisi pour le travail : En principe, Monsieur Kacunko se penche sur le même problèm que celui qui fascine egalement la branche de l`industrie graphique et des mèdias depus des annèes : la question de l`utilisation des nouveaux mèdias et de l`exploitation de leur potentiel crèatif et technique.>> Monsieur Kavunko montre, à l`exemple de l`oeuvre de Marcel Obenbach, les multiples possibiltitès de configuration offertes par l`art vidèo, en tenant comote des aspects non seutement cognitifs et techniques, mais ègalement esthètiques.Nè en 1964 à Osijek en Croatie, Slavko Kacunko a d`abort fait des ètudes rèusseis de pèdagogie avant d`ètudie l`histoire de l`art et philosophi à la facultè de philosophi de l`uiversitè de Zagreb de 1987 à 1993. De 1994 à 1998, il a finalement prèparè sa thèse de doctorat à la facultè de philosophi de L´universitè Heinrich Heine de Düsseldorf. Avec de nombreuses publications sur l`art contemporain, làrt du cinèma et de la vidèo ainsi que grâce à son activitè curateur et de critique d`art indèpendant, Monsieur Kacunko a dèjà attirè l`attetion sur lui pendant ses ètudes. Lors du dernier semestre d`hiver , Monsieur Kacunko a ètè, en plus de son activitè d`indèpendant, chargè de cours à la section des sciences du Thèâtre, du cinèma et des mèdias de lùniversitè Goethe de Francfort-sur-le Main.Chaque annèe, un comitè de professionnels composè du prèsident et du secrètaire gènèral de l`universitè Heinrich Heine de Düsseldorf, du prèsident de drupa et du prèsident-directeur gènèral de Messe Düsseldorf dècide de l`attribution du prix drupa. Le prix drupa est attribuè depuis 1978. Italian<< BackIl premio Drupa 2000drupa 2000 – comonica to stampa n. 27/maggio 2000 Appuntamento al prossimo 25 maggio: il premio drupa festeggia il suo Venticinquesimo anniversario Assegnato al Dr. Slavko Kacunko il premio drupa 2000 Presatazioni pionieristiche per la storia dell`ate nel campo dell`arte Video Il premio drupa 2000 è stato assegnato al Dr. Slavko Kacunko. Il trentaseienne vincitore die Düsseldorf è stato insignito di questo ambito riconoscimento par la sua dessertazione sul tema “Marcel Odenbach. Konzept, Performance, Video/ Installationen von 1975-1998”. E`la venticinquesim volta che Messe Düsseldorf, in qualità di organizzatrice dell drupa, onora così uno straordinario lavoro scientifico e promuove con un premio in denaro dell`importo di 10`000 marchi la pubblicazione e la diffusione della dissertazione. Il 22 maggio scorso, in una festosa cornice nell`ambito della drupa 2000 Joachim Erwin, sindaco di Düsseldorf e presidente del vomitato di Vigilanza di Messe Düsseldorf, e Albrecht Bolza-Schünemann, pesidente Della drupa 2000 e vicepresidente del consiglio di amministrazione della Koenig & Bauer AG, conferiranno al Dr. Slavko Kacunco l`ambito titolo. Diversamente da quanto si potrebbe presumere di primo in base al suo titolo, il lavoro del Dr. Kacunko non si limita unicamente all`operato artistico di Marcel Obenbach, ma conferscie al contempo una sua struttura alla storia dell`arte, dai suoi esordi nel 1970 sino ai giorni nostri. Albrecht Bolza-Schürmann si è dichiarato particolarmente soddisfatto per la scelta dell`argomento. “Il Dr. Kacunko affronta in sostanza la medesima questine che occupa ormai de anni anche il settore della stampa e dei media ovvero quella relativa alla gestione dei nuovi mezzi di comunicazione e allo sfruttamento del loro potenziale tecnico e creativo.”.Il Dr. Kacunko illusta, sulla scorta dell`operato di Marcel Obenbach, le enormi possibilità configurative offerte dell`arte video tenendo conto in qusto contesto sia degli aspetti cognitivi, sia di quelli tecnici ed estetici. Nato nel 1964 a Osijek, in Croazia, dopo aver concluso con successo i suoi studi di pedagogia, tra il 1987 e il 1993 Slavko Kacunko ha studiato storia dell`arte e filosofia presso la facoltà di filosofia dell`Università die Zagabria.Tra il 1994 e il 1998 frequent infine il corso di dottorato della facoltà di filosofia della Heinrich-Heine Universität di Düsseldorf. Con nummerose pubblicazioni dedicate all`arte contemooranea, alla cinematografia e all`arte video e la sua attività indipendente in veste di coratore e critico d`ate, il Dr. Kacunco ha suscitato interesse già durante il suo periodo di studi. Nel passato semestre invarnale, Kacunco ha aggiunto alla sua attività come libero professionista una docenza prsso la Goethe- Universistät di Francoforte nel settore specifico delle scienze teatrali, cimentografiche e delle conunicazioni. In merito al conferimento del premio drupa decide annualmente una giuria di specialisti del ramo, composta in particolare dal rettore e dal prorettore della Heinrich-Heine Universität di Düsseldorf, dal presidente della drupa e dak oresudebte dekka durezione generale die Messe Düsseldorf. Il premio è stato istituto nel 1978.GermanDer drupa-Preis des Jahres 2000 heisst Dr. Slavko Kacunko. Der 36jährige Düsseldorfer erhält die Auszeichnung für seine Dissertation zum Thema „Marcel Odenbach. Konzept, Performance, Video/Installation von 1975-1998“. Bereist zum 25. Mal würdigt die Messe Düsseldorf als Veran- stalter der drupa damit eine herausragende wissenschaftlichen Arbeit und fördert mit einem Preisgeld in Höhe von 10.000 Mark die Publikation und Verbreitung der Dissertation.Joachim Erwin, Oberbürgermeister von Düsseldorf und Vorsitzender des Aufsichtsrates der Messe Düsseldorf, und Albrecht Bolza-Schürmann, Prä- sident der drupa 2000 und stv. Vorsitzender des Vorstandes der Koenig & Bauer AG, überreichten am 22. Mai in feierlicher Atmosphäre die Urkunde An Dr. Slavko Kacunko im Rahmen der drupa 2000. Auch wenn es der Titel der Promotion vordergründig vermuten lässt, be- schränkt sich Dr. Kacunko in seiner Arbeit nicht nur auf das künstlerische Wirken Marcel Odenbachs. Er verleiht zugleich der deutschen Videokunst- geschichte eine Struktur und ordnet sie in den kunsthistorischen Zusam- menhang ein – von der Ausgangssiruation im Jahre 1970 bis zur Gegen- wart.Albrecht Bolza-Schürmann zeigte sich über die Themenwahl der Ar- beit besonders erfeut:“Prinzipiell setzt sich Dr. Kacunko mit der gleichen Fragestellung auseinander, die auch die Print- und Media-Branche seit Jahren in ihren Bann zieht: Die Frage nach dem Ungang mit neuen Medien und die Ausnutzung ihres Kreativen und technischen Porentials.“ Dr. Kacunko zeigt am Beispiel des Werkes Marcel Odenbachs die enormen gestalterischen Möglichkeiten der Videokunst auf und berücksichtigt dabei sowohl kognitive, technische als auch ästhetische Aspekte.1964 in kroatischen Osijek geboren, studierte Slavko Kacunko im An- schluss an ein erfolgreiches Studium der Erziehungswissenschaften von 1987 bis 1993 Kunstgeschichte und Philosophie an der philosophischen Fakultät der Universität in Zagreb. Von 1994 bis 1998 belegte er schließ- lich den Promotionsstudiengang der philosophischen Fakultät der Hein- rich-Heine-Universität Düsseldorf. Mit zahlreichen Veröffentlichungen über zeitgenössische Kunst, Film- und Videokunst sowie durch seine freiberufli- che Tätigkeit als Kurator und Kunstkritiker hat Dr. Kacunko bereits wäh- rend seines Studiums Aufmerksamkeit erlangt. Im zurückliegenden Wintersemester hatte Dr. Kacunko in Ergänzung zu seiner freiberuflichen Tätigkeit einen Lehrauftrag inne an der Goethe-Universität zu Frankfurt am Main für den Fachbereich Theater-, Film- und Medienwissenschaften.Über die Vergabe des drupa-Preises enschedet jedes Jahr ein Fachgremium, bestehend aus dem Rektor und Prorektor der Heinrich-Heine- Universität Düsseldorf, dem Prästidenten der drupa und dem Vorsitzenden der Geschäftsleitung der Messe Düsseldorf. Der drupa-Preis wird seit 1978 verliehen. Pressereferat drupa 2000 PM Nr. 27 Mai 200
International legal treatment of war
No full textIn this paper, the author presents and analyses various attempts made by the factors in the international community to define the rules of behavior in waging war as a means of communication among states in resolving their mutual problems. Presenting first the history (several centuries long) of attempts to restrain war waging the author focuses on the endeavors of the League of Nations in the period between the two world wars as well as on the creation of regulations by the United Nations after World War II. The author points out that the United Nations has built a comprehensive system of waging war restraint that, among other things, not only prohibits aggressive war waging, but also any use of armed force or threat of use of force. Some forms of military interventions could be taken only within the UN corresponding procedure. In spite of the fact that the treatment of war is regulated by the law within UN, it is present in the contemporary world as a result of the existing political and economic relations. As the author concludes, war and force keep on being used in practice, sometimes in a very violent way. Thus, they violate the provisions of international law that regulates the rules and treatment of war in international relations.
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