116 research outputs found
Čemer
No full textRad Čemer je proizvod moje težnje da estetiku prethodno načinjenog istoimenog stripa prenesem u formu trodimenzionalnih maketa i lutki koje bi se u konačnici koristile u izradi animiranog filma. Stilizirana i karikaturalna izvedba crteža, skulptura i same animacije kontrastna je motivima koji se u Čemeru pojavljuju. Namjera mi je bila da spajanjem suprotnosti uspijem kroz naivnost i donekle humor obraditi motive i teme koje su ozbiljne i ne mogu se predvidjeti iz estetike rada. Strip i animirani film Čemer su spoj medija prema kojima imam najveću privrženost
Zvonimir Bajsić as a radio feature author
No full textOvaj rad se bavi Zvonimirom Bajsićem kao autorom dokumentarnih radiodrama. Premda se radi o začetniku dokumentarne radiodrame u Hrvatskoj, u široj javnosti je ipak nepoznat. Cilj rada je stoga bio istražiti i vrednovati opus njegovih dokumentarnih radiodrama kako bi se naglasio njegov značaj u povijesti toga žanra u Hrvatskoj. Tijekom izrade rada provedena je kvalitativna i kvantitativna analiza svih četrnaest dokumentarnih radiodrama kojima je Bajsić autor. Rezultati analize pokazali su kako je Bajsić u svojim dokumentarnim radiodramama više koristio dokumentarne govorne tonove nego dramske govorne tonove te da su dramski govorni tonovi u njegovim dokumentarnim radiodramama u službi dokumentarizma. Kao međunarodno nagrađivani autor, osim što je afirmirao žanr u domovini i svijetu, Bajsić je svojim dokumentarnim radiodramama pokazao kako se u hrvatskim okvirima dokumentarna radiodrama razvila iz radiodrame te da je riječ o radiofonskom ostvarenju koje ima umjetnički karakter. Zbog svega navedenog Zvonimir Bajsić zauzima istaknuto mjesto u hrvatskoj povijesti radiofonije te kao autor dokumentarnih radiodrama ostaje trajni uzor dobre prakse.The topic of this paper is Zvonimir Bajsić as a radio feature author. Although he was the first author of radio features in Croatia, he is not well known to the wider public. Therefore, the aim of this paper was to investigate and evaluate his opus of radio features in order to emphasize his importance in the history of this genre in Croatia. As a part of this paper, a qualitative and quantitative analysis of all of his fourteen radio features has been made. The results showed that Bajsić used documentary speech in his radio features more then drama speech and that drama speech was used in the service of documentarism. As an internationally acknowledged author, besides affirming this genre at home and abroad, with his radio features Bajsić showed how, in the Croatian context, radio features evolved from radiodrama and exist as an artistic radiophonic piece. Considering everything noted, Zvonimir Bajsić has a prominent place in Croatian radiophonic history and as an author of radio features he continues to be a role model of a good practice
THE BEGINNINGS OF THE CROATIAN NATIONAL OPERA REPERTOIRE CREATION – THE CROATIAN NATIONAL HISTORICAL OPERA TRILOGY (MISLAV, BAN LEGET, NIKOLA ŠUBIĆ ZRINJSKI) by IVAN von ZAJC
No full textOva se doktorska disertacija temelji na rezultatima istraživanja obilježja i značenja triju Zajčevih jedinih nacionalnopovijesnih opera (Mislav, Ban Leget i Nikola Šubić Zrinjski). Temelj je rada muzikološka analiza partitura s obzirom na njihovo tekstnoglazbeno tkivo, a u središtu su istraživanja bile: glazbene sastavnice (ritamske, melodijske, harmonijske i formne), glazbena artikulacija dijelova / brojeva / prizora, analitička razradba libreta te sveza libreta i glazbenoga sadržaja (strukture opere), teatrološki pristup opernome djelu (u pogledu suodnosa dramskoga teksta, libreta i operne partiture, odnosno recepcije i percepcije djelâ u hrvatskoj /zagrebačkoj/ sredini toga doba), naposljetku, promisao o scenskoj (vizualnoj) komponenti operâ. Odgovarajućim metodološkim pristupom, što je uključivao arhivski rad na autografnim i ostalim rukopisnim te tiskanim izvorima, proučavanje historiografske građe, analitički rad te artikulaciju prikupljenih i odabranih podataka u znanstvenu cjelinu interdisciplinarnog karaktera, u ovome su radu izloženi različiti aspekti (o i oko) Zajčeve nacionalnopovijesne operne trilogije. Također se utvrdilo na koji je način i u kojoj mjeri, kao najkompetentniji i profesionalni glazbenik s prethodnim internacionalnim iskustvom, odgojen na talijanskoj glazbi („verdijanstvu“) i s praktičnim djelovanjem operetnoga majstora, ali i otvoren novim utjecajima sublimiranima u zahtjevima, očekivanjima te mogućnostima hrvatske sredine, Zajc odgovorio zadatku stvaranja hrvatskoga nacionalnoga opernoga repertoara. Osobita se pozornost posvetila sagledavanju elemenata nacionalnoga na razini: teksta / libreta, glazbene komponente, dramaturškoga aspekta (dramaturgije glazbe, dramaturgije libreta, dramaturgije scene, dakle, vizualne komponente u pogledu scenografije i kostimografije), ali i odnosu internacionalnoga / kozmopolitskoga i nacionalnoga idioma u Zajčevoj opernoj trilogiji. U kontekstu vremena i prostora (intencije sredine i intencije autorova stvaranja) i u odnosu na postojeću glazbenu tradiciju te perceptivna iskustva sredine za koju je stvarao, Zajc je progovorio u znatnoj mjeri aktualnim (primjerenim) glazbenim jezikom, a razinom uporabe glazbenofolklornih elemenata, odgovorio je i na ideološke poticaje toga povijesnoga trenutka. Stoga se potvrdila teza da je Zajc u drugoj polovici 19. stoljeća u začetnim godinama hrvatske Opere – unatoč i/ili zahvaljujući višeslojnim čimbenicima – ostvario bitan, ključan i tadašnjoj publici prepoznatljiv, zapravo dotad prvi realni hrvatski nacionalni operni kanon s dostatnim i, kao što se pokazalo, relevantnim obilježjima nacionalnoga idioma. Stoga je ovaj rad doprinos promišljanju o Zajčevoj ulozi u kreiranju prvoga nacionalnoga opernoga repertoara, ujedno i odgovor na pitanje o nacionalnim i internacionalnim elementima i interakciji tih obilježja te biva otvoren novim muzikološkim i kroatološkim, analitičkim i/ili sintetskim radovima o Zajcu i njegovu opusu.Zajc's Croatian national opera trilogy Mislav (1870), Ban Leget (1872) and Nikola Šubić Zrinjski (1876) was composed in a sequence and by that time Zajc already had had compositional experience in operas, acquired in both his early and intensive operatic periods. After a series of operettas, composing of a historic opera with national elements was a conditio sine qua non, especially after Zajc's arrival in Zagreb from Vienna, which was arranged with Croatian intellectuals in 1870. That same year, the premiere of opera Mislav, which was on 2nd October, one decade after the establishment of the Croatian Drama (1860), i.e. Croatian National Theatre (1861) and twenty years after completion of, then still unperformed Lisinski’s opera Porin (1847 – 1851) commenced the work of Zagreb's permanent opera as well as Zajc's forty years long musical activity in Zagreb. Moreover, the aforementioned operas, together with Lisinski’s Love and Malice, were in Croatian cultural and historical range of that time declared as only “real” Croatian national operas which were composed and performed (except Porin, which was performed in 1897). Despite their uneven quality level and contemporary as well as later success (audience reception), our attention was attracted by the questions pertaining the competence of the author who had to make, upon arrival, all the necessary assumptions for creating the first publicly performed national opera. Firstly, the music ensemble and education were to be established; “upbringing” the players and music education of the singers. In accordance with inherited predispositions, cultural and family ambience (influence of his musician father), music education and specialization (Rijeka, Milan), author’s artistic growth and formation in diverse environments (Rijeka, Milan, Vienna, Zagreb), Zajc managed to establish the creative dialogue in the new ambient, in the context of time and the intention of creation. One could say that the endeavours of Zagreb’s patriots for the formation of national (musical) culture after the period of Bach’s absolutism coincided with (private and artistic) circumstances which have brought Zajc in Zagreb. Zajc came in the time period between the neoabsolutism and the rule of Héderváry (from 1883). While the operas Mislav and Ban Leget were composed during the reigns of banus Levin Rauch (Mislav), rather Antun Vakanović (Ban Leget), both guided by aggressive Hungarian politics, the opera Nikola Šubić Zrinjski was created during the reign of Ivan Mažuranić, whose reign was a “bright oasis” in the socio-political circumstances in Croatia in the second half of 19th century. Even though the last period was rather favourable, one could say that the opera trilogy as whole was composed in the intermission between two strong political pressures (Bach’s and Khuen’s). Therefore, it is important to emphasise the convenience of the historical moment for the expression of the national, that is, for the creation of national operas with more or less allusive messages and metaphors, especially for plunging in the Croatian langsyne (which as such became evident in Zajc’s trilogy). This can especially relate to Mislav, it being the first work of its kind, but also to Ban Leget and Nikola Šubić Zrinjski, which were also intended to be national operas, and Zajc followed mutual ideas (for instance, self-sacrifice) in his choice of themes in all three works, thus being pursuant to the general mood of the society of the time. Their mission was to reinvigorate and confirm the Croatian national identity in the times of uncertainty, just after the two Settlements, during the unrest in Croatian national aspirations. The choice of themes aimed, with a great deal of certainty, for the confirmation of the national: the existence of the nation since the “ancient history”. Furthermore, the themes reflected the key terms of the founders’ myths of identity, unity and continuity (of one’s nation)
Croatia and a new Europe
No full textThe Paneuropean Union, according to the chairman of the Croatian branch and author of this article, is, as a matter of fact, the oldest move-ment for European unification. According to the Paneuropean Union, as the author explains, the foundations of Europe as a whole lie in the common heritage of antiquity and Christianity. He concludes that Croatia, at present being destroyed and tortured, on the basis of its cultural heritage and its Christian tradition, as well as its democratic options, undoubtedly belongs to a unified, new Europe
"Rebeliousness" in the Politics of the Croatian Pure Party of Right (Starčević’s Croatian Party of Right / Party of Right)
No full textAutor na temelju literature, stranačkoga tiska i arhivskih izvora, analizira ustroj i ulogu posebnih, manje ili više organiziranih dijelova Čiste stranke prava (Starčevićeve hrvatske stranke prava / Stranke prava), zaduženih za organiziranje demonstracija i obračun s političkim protivnicima. Pritom polazi od tvrdnje hrvatske historiografije da je "borbenost" bila trajna odlika ove stranke, od njezinih početaka pa sve do konca Austro-Ugarske Monarhije, te smatra da se najranije od 1902. godine može pratiti neki oblik postojanja navedenih, manje ili više organiziranih dijelova stranke, zaduženih za mobilizaciju „ulice“. Budući da je društvenu strukturu tih dijelova uglavnom činilo frankovačko radništvo i frankovačka mladež, autor svoju temu dovodi u odnos prema tadašnjim studentskim organizacijama i radničkom pokretu. Osim toga, autor svoju temu promatra i u odnosu prema vanjskoj politici Monarhije, te političkom stanju u banskoj Hrvatskoj.Based on literature, party print and archive sources, in this paper the
author analyses the structure and role of individual, more or less organized
segments of the Pure Party of Right (Starčević’s Croatian Party of Right /
Party of Right) charged with the organisation of demonstrations and conflict
with political opponents. The starting point is the claim of Croatian
historiography that flrebelliousness« was a permanent characteristic of this
party from its beginning to the end of the Austro-Hungarian Monarchy. The
author claims that some trace of such segments of the party, whose duty it
was to mobilize flthe street«, can only be traced back to as far as 1902. As
the social structure of these segments was mostly made up by Frankovci
working-class members and youth, the author brings the topic into
comparison with today’s student organizations and workers’ movements.
The author also studies the topic in relation to the Monarchy’s foreign
policy and the political state of Central Croatia
Political Circumstances in Croatia at the Beginning of the First World War
No full textAutor je na temelju relevantne literature te novinskih članaka i
izvornih dokumenata iz razdoblja uoči i početka Prvoga
svjetskoga rata nastojao odgovoriti na pitanje jesu li optužbe
vojnih vlasti s početka Prvoga svjetskoga rata na račun Hrvatsko-
-srpske koalicije bile utemeljene, odnosno može li se za istaknute
članove Koalicije u to vrijeme s pravom reći da "nesumnjivo
naginju veleizdaji". Nakon provedene analize, autor misli da bi
se za većinu istaknutih članova Koalicije pouzdano moglo reći da
su sve do izbijanja rata bili u vezi s institucijama, koje su
nedvojbeno počivale na velikosrpskim temeljima. Primjećujući da
civilna vlast u Hrvatskoj na osnovi tih veza ne samo da nije htjela
pokretati veleizdajničke parnice nego osumnjičene nije htjela
pozvati ni na političku odgovornost, pa je i intervenirala u njihovu
korist, autor zaključuje da se u tom ogleda sprega
velikomađarske i velikosrpske državne ideje, koju je svojedobno
primijetio i hrvatski povjesničar, sociolog i politolog Ivo Pilar.On the bases of relevant literature, newspaper articles and
authentic documents dating from the beginning of the First
World War, the author made an effort to answer the question
whether the accusations of the military authorities against the
Croat-Serb coalition were justified. In other words, the goal
of this work is to establish whether it is right to claim that the
eminent members of the Coalition "undoubtedly leant
towards high treason". After the analysis, the author
presumes that it is accurate to say that most of the eminent
members of the Coalition were, in the period before the
breakout of the First World War, linked to institutions which
were based on the Greater-Serbian idea. The author notices
that the civil authorities in Croatia not only failed to institute
legal proceedings against them, but also ignored to hold
them politically accountable and intervened on their behalf.
The author concludes that the above mentioned observations
reflect the conjugation between the Greater-Hungarian and
Greater-Serbian idea, which was formerly noticed by the
Croatian historian, sociologist and political scientist Ivo Pilar
Proposal of a communication plan for company Bio Zaštita Llc.
No full textPlaniranje u poslovnom svijetu je od iznimne važnosti za svako poduzeće ili organizaciju kako bi učinkovito funkcioniralo i postiglo željene rezultate. Planiranjem se smanjuje mogućnost pogrešaka te se definira okvir unutar kojeg se odvijaju poslovni procesi poduzeća ili organizacije.
Tako je i s komunikacijskim planom, važnom karikom današnjeg ubrzanog i promjenjivog poslovanja pomoću kojeg kroz različite komunikacijske kanale odašiljemo željenu poruku ciljanim javnostima te potom analiziramo rezultate. Ako nema jasno strukturiranog komunikacijskog plana, teško ćemo postići željene komunikacijske, ujedno i poslovne rezultate.
Shodno tome, u ovom diplomskom radu fokus je na izradi komunikacijskog plana tvrtke Bio Zaštita d.o.o., koja se bavi proizvodnjom prirodnih sredstava za uzgoj i zaštitu biljaka. Rad obuhvaća pregled teorijskog okvira komunikacijskog plana, planiranja komunikacije te strateške i integrirane marketinške komunikacije. Osim teorijskog dijela, za potrebe rada provedeni su i polustrukturirani dubinski intervjui s vlasnikom tvrtke Mislavom Fucijašem, vlasnikom rasadnika Milić Daliborom Milićem te Anitom Majstorović iz trgovine poljoprivrednih proizvoda Agros Zagreb. Uz intervjue, autor je proveo i analizu stavova i mišljenja ciljanje javnosti kako bi se provjerilo pozicioniranje Bio Zaštite i njezine komunikacije u njihovoj svijesti metodom online anketnog upitnika te analizu komunikacije tvrtke na društvenim mrežama Facebook i Instagram, kao i analizu medijskih objava.
Temeljem dobivenih rezultata istraživanja, kreiran je plan komunikacije s ciljem privlačenja novih kupaca i zaljubljenika u vrt te unapređenja pozicioniranja Bio Zaštite kao vodeće firme u proizvodnji bio stimulanata na hrvatskom tržištu i šire.Business planning is of utmost importance for any company or organization in order to function effectively and achieve desired results. Planning reduces the possibility of mistakes and defines the framework within which the business processes of a company or organization take place. The same applies for the communication plan, an important link in today's fast-paced and changing business market with which one sends the desired message to the target audience through various communication channels and then evaluates the results. If no clearly structured communication plan exists, it will be difficult to achieve desired communication and business results.
Correspondingly, the focus of this paper is on the creation of a communication plan for the company Bio Zaštita, which produces natural means for plant breeding. This paper includes an overview of the theoretical framework for the communication plan, communication planning, and strategic and integrated marketing communication. In addition to the theoretical part, semi-structured in-depth interviews were conducted for the purposes of this work with Mislav Fucijaš, owner of the company, Dalibor Milić, owner of the Milić Plant Nursery, and Anita Majstorović, from the agricultural products store Agros Zagreb. Furthermore, the author conducted an analysis of the company’s press releases, communication on social media networks Facebook and Instagram as well as public opinions and attitudes using an online survey method to examine the positioning and communication of company Bio Zaštita in public consciousness.
A communication plan has been devised on the basis of research results with the aim of attracting new customers and garden enthusiasts as well as improving the positioning of Bio Zaštita as a leading company in the production of bio stimulants on the Croatian market and beyond
Proposal of a communication plan for company Bio Zaštita Llc.
No full textPlaniranje u poslovnom svijetu je od iznimne važnosti za svako poduzeće ili organizaciju kako bi učinkovito funkcioniralo i postiglo željene rezultate. Planiranjem se smanjuje mogućnost pogrešaka te se definira okvir unutar kojeg se odvijaju poslovni procesi poduzeća ili organizacije.
Tako je i s komunikacijskim planom, važnom karikom današnjeg ubrzanog i promjenjivog poslovanja pomoću kojeg kroz različite komunikacijske kanale odašiljemo željenu poruku ciljanim javnostima te potom analiziramo rezultate. Ako nema jasno strukturiranog komunikacijskog plana, teško ćemo postići željene komunikacijske, ujedno i poslovne rezultate.
Shodno tome, u ovom diplomskom radu fokus je na izradi komunikacijskog plana tvrtke Bio Zaštita d.o.o., koja se bavi proizvodnjom prirodnih sredstava za uzgoj i zaštitu biljaka. Rad obuhvaća pregled teorijskog okvira komunikacijskog plana, planiranja komunikacije te strateške i integrirane marketinške komunikacije. Osim teorijskog dijela, za potrebe rada provedeni su i polustrukturirani dubinski intervjui s vlasnikom tvrtke Mislavom Fucijašem, vlasnikom rasadnika Milić Daliborom Milićem te Anitom Majstorović iz trgovine poljoprivrednih proizvoda Agros Zagreb. Uz intervjue, autor je proveo i analizu stavova i mišljenja ciljanje javnosti kako bi se provjerilo pozicioniranje Bio Zaštite i njezine komunikacije u njihovoj svijesti metodom online anketnog upitnika te analizu komunikacije tvrtke na društvenim mrežama Facebook i Instagram, kao i analizu medijskih objava.
Temeljem dobivenih rezultata istraživanja, kreiran je plan komunikacije s ciljem privlačenja novih kupaca i zaljubljenika u vrt te unapređenja pozicioniranja Bio Zaštite kao vodeće firme u proizvodnji bio stimulanata na hrvatskom tržištu i šire.Business planning is of utmost importance for any company or organization in order to function effectively and achieve desired results. Planning reduces the possibility of mistakes and defines the framework within which the business processes of a company or organization take place. The same applies for the communication plan, an important link in today's fast-paced and changing business market with which one sends the desired message to the target audience through various communication channels and then evaluates the results. If no clearly structured communication plan exists, it will be difficult to achieve desired communication and business results.
Correspondingly, the focus of this paper is on the creation of a communication plan for the company Bio Zaštita, which produces natural means for plant breeding. This paper includes an overview of the theoretical framework for the communication plan, communication planning, and strategic and integrated marketing communication. In addition to the theoretical part, semi-structured in-depth interviews were conducted for the purposes of this work with Mislav Fucijaš, owner of the company, Dalibor Milić, owner of the Milić Plant Nursery, and Anita Majstorović, from the agricultural products store Agros Zagreb. Furthermore, the author conducted an analysis of the company’s press releases, communication on social media networks Facebook and Instagram as well as public opinions and attitudes using an online survey method to examine the positioning and communication of company Bio Zaštita in public consciousness.
A communication plan has been devised on the basis of research results with the aim of attracting new customers and garden enthusiasts as well as improving the positioning of Bio Zaštita as a leading company in the production of bio stimulants on the Croatian market and beyond
STARČEVIĆ’S CROATIAN PARTY OF RIGHT (PARTY OF RIGHT) AND ELECTIONS FOR THE ZAGREB CITY COUNCIL FROM 1904 TILL 1917
No full textPolazeći od postavke da je politički utjecaj Starčevićeve hrvatske stranke prava (Stranke prava) u banskoj Hrvatskoj u prvom redu ovisio o utjecaju koji je ta stranka imala u gradu Zagrebu, autor u članku analizira njezine rezultate na izborima za zagrebačko gradsko zastupstvo od 1904. do 1917., u razdoblju tijekom kojega je ta stranka prešla put od pojedinačno najjače stranke u banskoj Hrvatskoj do gotovo potpuno poražene stranke koja krajem 1918. nije uspjela organizirati ozbiljniji otpor stupanju banske Hrvatske u Kraljevstvo Srba, Hrvata i Slovenaca.In this article the author strives to answer the question, what were the reasons for the political collapse of Starčević’s Croatian Party of Right (Party of Right), which resulted in the party being merely a mute observer of the political events in Banal Croatia in late 1918, when the Kingdom of Serbs, Croats and Slovenes was being formed. In order to answer this question, the author has analysed the political influence of this party in the city of Zagreb, which was – according to extant historiographical research – the party’s initial stronghold and, according to the beliefs of a part of the political public in Croatia at that time, a key influence in the party’s expansion throughout Banal Croatia due to its role as the spiritual and economic centre of Croatia.
Therefore, the author assumed that the reasons for the political collapse of this party should also be sought in the city of Zagreb. The author examined the political power of Starčević’s Croatian Party of Right (Party of Right) in Zagreb based on its representation in the city council in the period from 1904 till 1917, when the last elections for the Zagreb city council during the existence of the Austro-Hungarian Monarchy were held. The relationship between the political power of this party in Zagreb and its power on a national level is expressed through a comparison of Starčević’s Croatian Party of Right (Party of Right) representation in the Zagreb city council with its representation in the Croatian Parliament. On the basis of the facts presented in this article, such as the political rise of Starčević’s Croatian Party of Right (Party of Right) in Zagreb that preceded its rise on a national level and that this party, like Starčević’s Party of
Right – which was formed in 1909 from its dissidents – remained primarily a party of Zagreb and its surrounding area (the counties of Zagreb, Varaždin, and Bjelovar-Križevci) throughout the whole period, the author proves that the political situation in Zagreb had a crucial influence on the political power of Starčević’s Croatian Party of Right (Party of Right) in Banal Croatia. Therefore, the waning of the party’s political influence in Zagreb was followed by its weakening on a national level. The reason for this loss of political influence,
first in Zagreb and later throughout Croatia, stems from rifts in the party in 1908 and 1913, while the final collapse of the party – together with a final rift – was caused by World War I, when the party’s supporters were conscripted in greater numbers than those of other parties and thus distanced from the political events taking place at the home front
Doprinos Družbe „Braća Hrvatskoga Zmaja” njegovanju sjećanja na Prvi svjetski rat
No full textUsing the available literature, press articles, and archival material, the author analyses the relationship of a Croatian cultural association, the Society of Brethren of the Croatian Dragon (SBCD), towards World War I heritage. This analysis includes the period from the beginning of World War I to the end of World War II. Since he considers the SBCD a representative Croatian cultural association in this period, the author believes that its relationship towards World War I heritage may be an indicator of the relationship of the Croatian public in general towards this war. During his research, the author noticed that this association was significantly active in all efforts whose goal was to preserve the memory of this war for future generations. After the end of World War I and the creation of the Yugoslav state, this activity almost completely ceased, and the situation did not change after the establishment of the Independent State of Croatia. The author considers that there were multiple reasons for this lack of interest in World War I heritage. Firstly, the participation of Croats in the armed forces of Austria-Hungary, which was an enemy of Serbia, was politically problematic topic in the new state and therefore avoided, especially since the new state was dominated by Serbs and built on Serbian victory culture. The political circumstances were also important in this context. If this society fostered ‘soft’ Croatness until the mid-1930s, striving to find a compromise between preserving Croatian national identity and respecting the Yugoslav state framework, how can one explain that the relationship of the society towards World War I remained unchanged since the mid-1930s, when a more combative Croatian spirit had spread through the society, and especially during the Independent State of Croatia? In his answer to this question, the author proposes that the symbolism of World War I, in which Croats fought on the side of Austria-Hungary—a state that was seen as a foreign entity—did not have the capacity to support the idea of an independent Croatian state.U članku autor analizira odnos hrvatskoga kulturnog društva, Družbe „Braća Hrvatskoga Zmaja”, čija je jedna od svrha bila njegovati uspomenu na „slavne događaje iz hrvatske prošlosti i na znamenite Hrvate”, prema baštini Prvoga svjetskog rata. Pritom taj odnos promatra kroz tri vremenske faze koje su djelovale izvan ovoga društva (fazu djelovanja društva unutar Austro-Ugarske Monarhije, unutar monarhističke Jugoslavije i unutar Nezavisne Države Hrvatske) te kroz dvije faze koje su djelovale unutar društva (fazu djelovanja društva pod Emilom Laszowskim do sredine 1930-ih i fazu nakon toga). Budući da autor ovo društvo u tom razdoblju određuje kao reprezentativno hrvatsko kulturno društvo, smatra da bi njegov odnos prema baštini Prvoga svjetskog rata mogao biti i pokazatelj odnosa cjelokupne hrvatske javnosti prema tom ratu
- …
