612 research outputs found
Montenegro from Petar II Petrović- Njegoš to beginning of the World War I
No full textU ovom završnom radu, autor analizira političku situaciju Crne Gore u razdoblju od 1830. do 1914. U završnom radu ključne su tri osobe, a to su Petar II., Danilo I., i Nikola I. iz dinastije Petrović-Njegoš. Kod Petra II. Petrovića-Njegoša prikazuje kako se Crna Gora želi diplomatskim sredstvima i unutarnjim reformama i sukobima izboriti za međunarodno priznanje jer je sama po sebi bila država u državi unutar Osmanskog Carstva. Za vrijeme Danila I. Petrovića-Njegoša prikazuje se teritorijalno širenje Crne Gore koje za vrijeme njegove vladavine dovodi do neformalnog priznanja Crne Gore od strane velikih sila. S druge strane prikazuje kako je na unutarnjem polju pretvorio Crnu Goru u sekularnu državu stvorivši kneževinu te njegovu centralizaciju države na način da suzbije plemensku podjelu koja je spriječavala političko jedinstvo. Kod trećeg navedenog, Nikole I. Petrovića-Njegoša, analiziraju se njegova teritorijalna proširenja od 1878. do 1913. Zatim se prikazuju odnosi s velikim silama, poglavito s Rusijom koji su bili na vrhuncu 1878. kada je Crna Gora međunarodno priznata, a nakon toga su bili u fazi opadanja. Kada je u pitanju unutarnji ustroj i odnos sa susjedstvom, prikazuje se Nikolina promjena vlasti od autokratske kneževine do parlamentarne kraljevine, a po pitanju susjedstva odnosi prema srpskim dinastijama Obrenović i Karađorđević.In this final work, the author analyzes the political situation of Montenegro from 1830 to 1914 Petar II, Danilo I and Nikola I from Petrović-Njegoš dynasty are considered the most important individuals in this final work. During Petar II Petrović-Njegoš period, Montenegro's goal is to gain their independence, since they were considered to be a part of Ottoman Empire, by internal efforts, diplomacy and by countering internal issues. During the time of Danilo I Petrović-Njegoš, Montenegro's territory expanded which caused Montenegro to achieve informal independence recognition from very important countries. On the other side, Danilo I Petrović-Njegoš also conducted some internal reforms resulting in separatism between the Church and the state, that was possible by creating principality. This part of the final work also shows Danilo I.'s ability to centralize the country by defeating the aristocracy that opposed the political unity. The third part of this final work analyzes Nikola I Petrović-Njegoš and his territorial expansion from 1878 to 1913. It also analyzes his relationship with important countries, especially with Russia that was at their peak time in 1878, when Montenegro was internationally recognized as an independent country. After that event of Montenegro's independence, Russia started losing their power. This part also provides better knowledge on Nikola's relationship with his neighbour countries, especially Serbia and their ruling dynasties Obrenović and Karađorđević, as well as the change in the way of governing. Nikola changed Montenegro from being principality into being parliamentary monarchy
The author for himself
Full text linkАn afterword in the book Human points of reference, Assoc. Prof. Petar Tzonov, 201
Petar Pan in Kensington Gardens - Petar Pan - Disney's Petar Pan: genre transformations
No full textU ovome radu bavit ćemo se temom Petra Pana u knjigama: Peter Pan in Kensington Gardens (Barrie, 1906) (na hrvatski prevedeno kao Petar Pan u perivoju Kensington), Peter and Wendy (Barrie, 1911) (na hrvatski prevedeno kao Petar Pan) i adaptaciju Petra Pana u filmu Peter Pan (Disney, 1953). Lik Petra Pana popularni je junak i sastavni dio života djece i njihova odrastanja. Prvo poglavlje rada posvećeno je životu i radu autora Jamesa Matthewa Barriea s isticanjem biografskih podataka koje se učestalo povezuju s motivacijom za nastanak djela Petar Pan. U sljedećim poglavljima prikazat će se kronološki okvir nastanka lika Petra Pana, zatim će se pružiti uvid u povijest prisutnosti lika Petra Pana u hrvatskim prijevodima te će se ukratko osvrnuti na motiv smrti kao tabu teme. Analiza djela usmjerena je na prikaz transformacije lika Petra Pana kao i njegovih odnosa s ostalim likovima od početne ideje u djelu Petar Pan u perivoju Kensington preko djela u Hrvatskoj poznatog kao Petar Pan do Disneyeve adaptacije djela u animirani film Petar Pan. Tri razmatrana djela će se još i međusobno usporediti sa svim posebnostima i interpretacijskim naglascima koje pojedino djelo donosi. Analiza je pokazala da se motiv smrti koji je bio obilato prisutan u najranijem djelu, Petar Pan u perivoju Kensington, sa sve većom svijesti o djeci kao implicitnoj i realnoj publici u sljedećim djelima postupno gubi i svodi na najmanju moguću razinu. Također, radi prilagodbe djela drugim medijima (kazalištu i filmu) priča je morala postati koherentnija pa se i naglasak u kasnijim djelima prebacuje više na pustolovni karakter djela.In this paper we are going to be interpreting Peter Pan throughout the themes of the books: Peter Pan in Kensington Gardens (Barrie, 1906), Peter and Wendy (Barrie,1911) and the movie adaptation Peter Pan (Disney,1953). The character of Peter Pan is a popular hero and an important part of children's lives and their growing up. The first chapter is based on life and work of author James Matthew Barrie as well as his biographical data which are considered crucial for the origin of his most famous work Peter Pan. The following chapters will present the chronological framework of the origin of the character of Peter Pan, then provide insight into the history of the presence of the character of Peter Pan in Croatian translations and briefly look at the motif of death as a taboo topic. The analysis of the work is focused on the transformation of Peter Pan's character and his relationships with other characters from the initial idea in Peter Pan in Kensington Park through the work known in Croatia as Peter Pan to Disney's adaptation of the work into the animated film Peter Pan. The three considered works will also be compared with each other with all the peculiarities and interpretive emphases that each work brings. The analysis showed that the motif of death that was abundantly present in the earliest work, Peter Pan in Kensington Park, with a growing awareness of children as implicit and real audiences in the following works is gradually lost and reduced to a minimum. Also, in order to adapt the work to other media (theater and film), the story had to become more coherent, so the emphasis in later works is shifted more to the adventurous character of the work
On Language in Petar Kanavelić's Literary Works
Full text linkU ovom se radu jezik književnih djela Korčulanina Petra Kanavelića analizira na temelju četiriju njegovih djela (Ban Petar Zrinski, doveden gdje mu se imaše glava odsjeći po zapoviedi Leopolda Prvoga, česara rimskoga, može biti da ovako govoraše; Ivanu Sobieski Kralju Poljačkomu osloboditelju Beča spjevao Petar Kanavelović vlastelin Corčulanski; Sveti Ivan biskup trogirski i kralj Koloman; Vučistrah). Pokazuje se u kojoj su mjeri na jezik njegovih pjesničkih djela utjecale versifikacijske potrebe, ponajprije struktura simetričnoga osmerca, ali i rima. Jezik pjesničkih djela uspoređuje se s jezikom tragikomedije Vučistrah koja nije u stihovima. Analiza izabranih primjera provedena je ponajprije na fonološkoj i morfološkoj razini te u manjoj mjeri na razini tvorbe riječi, sintakse i leksikologije. Pokazuju se tipične Kanavelićeve jezične sukladnosti s dubrovačkim autorima, ali i specifičnosti jezika dvaju prologa u Vučistrahu koji prethode samoj drami.In this paper, the author analyses the language of the literary works of Petar Kanavelić from Korčula through four of his works (Ban Petar Zrinski, doveden gdje mu se imaše glava odsjeći po zapoviedi Leopolda Prvoga, česara rimskoga, može biti da ovako govoraše; Ivanu Sobieski Kralju Poljačkomu osloboditelju Beča spjevao Petar Kanavelović vlastelin Corčulanski; Sveti Ivan biskup trogirski i kralj Koloman; Vučistrah). The paper shows to what extent the language of his poetic works was influenced by versification needs, primarily the structure of symmetrical octosyllabic verses, as well as rhyme. The language of poetic works is compared to the language of the tragicomedy Vučistrah, which is not written in verse. The selected examples were analysed primarily on the phonological and morphological level and, to a lesser extent, on the level of word formation, syntax and lexicology. Kanavelić’s typical linguistic conformity with Dubrovnik authors is shown, as well as the linguistic particularities of the two prologues in Vučistrah that precede the play itself
Public Sculptures of Petar Pallavicini in Dubrovnik
Full text linkPored niza poznatih skulptura, Petar Pallavicini je autor još dvaju skulptorskih djela u Dubrovniku. Godine 1935/6. izveo je reljefe za tri fasade Narodne banke u Dubrovniku. To su četiri reljefa smještena u zabate nad otvorima prizemlja Banke, alegorije tradicionalnih dubrovačkih gospodarskih grana. Nakon II. svjetskog rata, 1947/9. izrađuje reljef nadgrobnog spomenika grobnice obitelji Miljan na dubrovačkom groblju Boninovo.Born in Korčula, Petar Pallavicini (1887-1958) spent most of his life in Belgrade, where, attracted by the professional prospects of the then capital, he decided to settle in 1921 after graduating from the Art Academy in Prague. It was in Belgrade that he produced a series of decorative sculptures and works in the style he himself characterised as “spiritualised cubism”. In Dubrovnik, where he enjoyed most of his summers, Pallavicini was commissioned to execute the monument to Baltazar Bogišić, erected in Cavtat in 1913, where it still stands. Less known, however, is Pallavicini’s decorative work in Dubrovnik. The building of the National Bank was constructed in 1935/36 in one of the main thoroughfares of Dubrovnik (today Ulica hrvatskih branitelja). Pallavicini’s four reliefs, allegories of the traditional Dubrovnik crafts, adorn the pointed lunettes. The figures depicted in the relief panels are static, contemplative and lightly draped, the latter being his frequent expression. Morphological characteristics of the works and an article published in the paper “Novo doba” point to Petar Pallavicini as the author of this public relief in Dubrovnik. A reason more why these sculptures deserve our attention is the fact that in this period the sculpture of Dubrovnik was very modest.
Between 1947 and 1949 Pallavicini was commissioned to decorate a headstone at Boninovo—Dubrovnik cemetry. He is the author of a bronze relief on the family grave of his friend, painter Niko Miljan. The relief with a motif of the Virgin with the Child reflects intimism, its religious theme being rare in the post-war sculpture dominated by socialist realism
Uvod u Arduino I deo
No full textLab. assignment No. 1 for Measuring systems in computer engineering course at the University of Belgrade - School of Electrical Engineering (https://automatika.etf.bg.ac.rs/sr/13e053msr) in 2022.
Author would like to thank all BSc students - demonstrators for their valuable help: Uroš Kukić, Dušan Prokić, Marko Arsenović, Đurađ Kurepa, Nikola Valzorio, Pavle Radojković, Petar Juković, and Bogdan Badnjarević. Also, special thanks to BSc students in school year 2021/22 Marina Zlatković, Filip Starčević, Sonja Grubor, and Vladimir Janković.Ispravljena je štamparska greška u verziji 2022 2
On Language in Petar Kanavelić\u27s Literary Works
Full text linkU ovom se radu jezik književnih djela Korčulanina Petra Kanavelića analizira na temelju četiriju njegovih djela (Ban Petar Zrinski, doveden gdje mu se imaše glava odsjeći po zapoviedi Leopolda Prvoga, česara rimskoga, može biti da ovako govoraše; Ivanu Sobieski Kralju Poljačkomu osloboditelju Beča spjevao Petar Kanavelović vlastelin Corčulanski; Sveti Ivan biskup trogirski i kralj Koloman; Vučistrah). Pokazuje se u kojoj su mjeri na jezik njegovih pjesničkih djela utjecale versifikacijske potrebe, ponajprije struktura simetričnoga osmerca, ali i rima. Jezik pjesničkih djela uspoređuje se s jezikom tragikomedije Vučistrah koja nije u stihovima. Analiza izabranih primjera provedena je ponajprije na fonološkoj i morfološkoj razini te u manjoj mjeri na razini tvorbe riječi, sintakse i leksikologije. Pokazuju se tipične Kanavelićeve jezične sukladnosti s dubrovačkim autorima, ali i specifičnosti jezika dvaju prologa u Vučistrahu koji prethode samoj drami.In this paper, the author analyses the language of the literary works of Petar Kanavelić from Korčula through four of his works (Ban Petar Zrinski, doveden gdje mu se imaše glava odsjeći po zapoviedi Leopolda Prvoga, česara rimskoga, može biti da ovako govoraše; Ivanu Sobieski Kralju Poljačkomu osloboditelju Beča spjevao Petar Kanavelović vlastelin Corčulanski; Sveti Ivan biskup trogirski i kralj Koloman; Vučistrah). The paper shows to what extent the language of his poetic works was influenced by versification needs, primarily the structure of symmetrical octosyllabic verses, as well as rhyme. The language of poetic works is compared to the language of the tragicomedy Vučistrah, which is not written in verse. The selected examples were analysed primarily on the phonological and morphological level and, to a lesser extent, on the level of word formation, syntax and lexicology. Kanavelić’s typical linguistic conformity with Dubrovnik authors is shown, as well as the linguistic particularities of the two prologues in Vučistrah that precede the play itself
Petar Mutafchiev: Towards the philosophy of Bulgarian history
No full textTitle: Към философията на българската история. Византинизмът в средновековна България (Towards the philosophy of Bulgarian history. Byzantinism in medieval Bulgaria) Originally published: Философски преглед, 3, 1931/2, pp. 27–36. Language: Bulgarian The excerpts used are from Ivan Elenkov and Roumen Daskalov, eds., Защо сме такива? В mърсене на българската културна идентичност (Sofia: Просвета, 1994), pp. 352–356. About the author Petar Mutafchiev [1883, Bozhenci (Gabrovo region)–1943, Sofia]..
Slavic philosophy
No full textTitle: Slawische Philosophie (Slavic philosophy) Originally published: Prague, Fr. Ehrlich, 1855 Language: German The excerpts used are from Славянска философия (София: Акад. изд. Проф. Марин Дринов, 2000). Part I, Chapter IV and V, pp. 55–58; Part III, 2, Chapter I, p. 191. About the author Petar Beron (Pierre Béron) [1800, Kotel (Central Bulgaria) – 1871, near Craiova]: philosopher and pedagogue. He came from a rich merchant’s family, and received his primary education in Kotel (in the east..
Why Is lt Possible to Speak of a Separate Croatian Language?
Full text linkFor rea sons of its topicality and the good solutions offered. we are reprinting the
·'Treatise on Standard Croatian'' by Petar Guberina, publi shed in 1940 in his book. co-
authored by Kruno Krstić. Dijferences Between Standard Cromian and Serbian. Using
F. de Sauss ure's structuralist and Ch. Bally's stylistic methods. the author argues
the autonomy of Standard Croati an. He emphasizes that. in evaluating standard-language
phenomena. the various levels should be respected approaching the phenomena
from synchronic. standard-language and stylistic viewpoints. Diachrony. dialectology
and any other standard language, however close, must be disregarded. Since language
practice can use the units from various systems. the author underlines the importance
of the stylistic values of such phenomena. Frequently. a stylistic system does not produce
identical styli stic values. which makes the stylistic level exceptionally important,
a fact often neglected thus far
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