Symbols and symbolism in the poetry of Dora Pfanova

Dora Pfanova napisala je dvije zbirke pjesama, Pjesme I i Pjesme II, kroz koje čitatelj susreće mnoštvo zgusnutih simbola koji kroz zbirke razvijaju svoje značenje i smisao. Razvoj te simbolike donosi analiza ovog diplomskog rada. Detaljno proučavanje dviju zbirki prikazano je u središnjem dijelu rada, gdje su odabrani simboli cvijeta, vode, grada, sna, duše i smrti te proučen njihov raspon simbolike. Sukladno svojoj simbolici, uočavamo kako se njihova simbolika i prostor lirskog nalaze u površinama pejzaža, sna, duše... Kroz svoj opus, Pfanova iznosi simbole ljubavi, tuge, samoće, smrti, duhovnosti, a višeznačnost tih simbola rasla je s promjenom formalnog plana njenih pjesama. Svoje pisanje započela je tradicionalnim formama vezanog stiha i soneta, da bi se pri kraju prve zbirke okušala u stvaranju pjesama slobodnog stiha i pjesama u prozi. Te se forme protežu i prevladavaju kroz drugu zbirku te ona preko njih ostvaruje svoj puni pjesnički potencijal, iskazujući svoju najskriveniju intimu i najdublja promišljanja. Interpretacija četiriju pjesama (Buket, Bašća, San, Ljeti čas iz kancelarije) zorno je prikazala spomenuti raspon i potvrdila teze koje se odnose na razvoj simbolike i izmjenu formalnih oblika pjesama.Dora Pfanova wrote two poetry collections, Pjesme I and Pjesme II. This thesis explores the rich and evolving symbolism in these two poetry collections. The analysis focuses on how key symbols, including flower, water, city, dream, soul and death, develop and deepen in meaning across the two collections. In accordance with their meanings, we notice how their symbolism and the space of the lyrical subject are found in the surfaces of the landscape, dream, soul... Throughout her work, Pfanova presents symbols of love, sadness, loneliness, death, spirituality. The ambiguity of these symbols grew with the shift in the formal plan of her poems, ​​moving from traditional forms of rhymed verse and sonnets in her early work to the prevalence of free verse and prose poems in her second collection. This transition allowed Pfanova to fully realize her poetic potential, enabling her to express a deeper intimacy and more profound reflections. The interpretation of four chosen poems (Buket, Bašća, San, Ljeti čas iz kancelarije) provided concrete examples of this symbolic range and confirmed the thesis regarding the interplay between evolving symbolism and shifting poetic forms

L'ischemie myocardique : analyse terminologique et traduction d'un article scientifique

Ovaj diplomski rad se bavi terminološkom analizom i prijevodom znanstvenog članka o ishemiji miokarda. Podijeljen je na dva glavna dijela : teorijski i praktični dio. U teorijskom dijelu definirana je terminologija i njeni ključni pojmovi, opisan je razvoj kardiologije, obrađeni su članci koji govore o problematici medicinske terminologije, te su navedena referentna djela koja su nam pomogla u prijevodu i stvaranju konceptualnih prikaza. Praktični dio obuhvaća prijevod stručnog teksta, komentar na prijevod, 10 terminoloških kartica, te glosar s francuskim i hrvatskim terminima.Ce mémoire de master porte sur l'analyse terminologique et la traduction d'un article scientifique sur l'ischémie myocardique. Il est divisé en deux parties principales : une partie théorique et une partie pratique. Dans la partie théorique, nous définissons la terminologie et ses concepts clés, nous décrivons l’évolution de la cardiologie, nous examinons des articles qui traitent des problèmes de la terminologie médicale et nous citons les ouvrages de référence qui nous ont aidés dans la traduction et la création de représentations conceptuelles. La partie pratique comprend la traduction du texte spécialisé, un commentaire sur la traduction, 10 fiches terminologiques, et un glossaire avec des termes français et leurs équivalents croates

"Admiral of his phantasms": the intellectual history of Boris Maruna

U ovom diplomskom radu analizirana je intelektualna ostavština Borisa Marune iz njegovog emigrantskog i domovinskog razdoblja nakon povratka u Republiku Hrvatsku, do njegove smrti 2007. godine. Mada je po vokaciji bio primarno pjesnik, Boris Maruna je svojom širokom intelektualnom, političkom i javnom djelatnošću obilježio drugu polovicu dvadesetog stoljeća hrvatske povijesti. Svojim primjerom zalagao se za individualizam te beskompromisnost i neovisnost intelektualaca. Isticao je iznimno važnu društvenu ulogu i odgovornost intelektualca, u vidu hrabre i neprestane kritike svih društvenih anomalija - pa i po cijenu vlastite nesreće, a koju je on pak zaobilazio poezijom i ironijom. Svojim djelovanjem, nastojao je pomiriti raskorak između pragmatičnosti političke prakse i nesputanih intelektualnih ideala. Njegov emigrantski put obilježila je angažiranost u sklopu hrvatske političke emigracije protiv komunističke Jugoslavije te osobna, imanentna težnja za slobodnom i neovisnom Hrvatskom, koju je neizmjerno volio te koja mu je bila nepresušan izvor intelektualne inspiracije u egzilu. Po osamostaljenju Republike Hrvatske, razočaran surovom stvarnošću hrvatske postkomunističke tranzicije, povukao se u svojevrsnu unutarnju emigraciju, postavši jedan od najžešćih kritičara novih hrvatskih vlasti, na čelu s Franjom Tuđmanom i Hrvatskom demokratskom zajednicom. Odbio je zatvoriti oči pred sveopćom korupcijom, nepotizmom, nacionalizmom i svim drugim negativnim fenomenima hrvatske suvremenosti – ostavši do kraja intelektualno dosljedan samome sebi i svojoj unikatnoj ljubavi prema Hrvatskoj. Iza Borisa Marune ostaju njegova brojna intelektualna priviđenja, koja povjesničar ne smije previdjeti.This master's thesis analyzes the intellectual legacy of Boris Maruna, from his emigrant and homeland period after his return to the Republic of Croatia, until his death in 2007. Although he was primarily a poet by vocation, Boris Maruna marked the second half of the twentieth century of Croatian history with his broad intellectual, political and public activity. With his own example, he stood for individualism, uncompromisingness and independence of intellectuals. He emphasized the extremely important social role and responsibility of the intellectual, in the form of a brave and constant criticism of all social anomalies - even at the cost of his own misfortune, which he bypassed with poetry and irony. With his impact, he tried to reconcile the gap between the pragmatism of political practice and unrestrained intellectual ideals. His emigrant journey was marked by engagement within the Croatian political emigration against communist Yugoslavia and a personal, immanent desire for a free and independent Croatia, which he loved immensely and which was an inexhaustible source of intellectual inspiration in his exile. After the independence of the Republic of Croatia, disappointed by the harsh reality of Croatia's post-communist transition, he withdrew into peculiar kind of internal emigration, becoming one of the fiercest critics of the new Croatian authorities, led by Franjo Tuđman and the Hrvatska demokratska zajednica. He refused to close his eyes to the general corruption, nepotism, nationalism and all other negative phenomena of Croatian modernity - remaining intellectually consistent to himself and his unique love for Croatia. Behind Boris Maruna remain his numerous intellectual phantasms, which historian should not overlook

The comparison of social identities at two cemeteries of military and civil Croatia in the 17th and 18th centuries

Grobovi 17. i 18. stoljeća na dva lokaliteta, crkvi sv. Martina na Prozorju i crkvi sv. Nikole biskupa u Žumberku čine srž ovog rada. Riječ je o dva prilično različita groblja u dvije različite upravne jedinice. Prozorje je u 17. i 18. stoljeću bili dijelom civilne, a Žumberak vojne Hrvatske. U prvoj polovici 16. stoljeća, na demografski opustjelom Žumberačkom gorju naseljeni su prebjezi s teritorija pod kontrolom Osmanlija, mahom kršćani istočnog obreda. Prema povijesnim izvorima, do izgradnje prvih grkokatoličkih crkava u prvoj polovici 17. stoljeća prebjezi su za svoje potrebe koristili rimokatoličke crkve te se pretpostavlja da su se oko crkve sv. Nikole biskupa pokapali i rimokatolici i grkokatolici. S druge strane, na Prozorju su se pokapali isključivo rimokatolici. Otegotna okolnost pri uspoređivanju ova dva groblja je ta što je na Prozorju istražena crkvena unutrašnjost, bočne kapele i sakristije te vrlo mala površina oko same crkve na kojoj nije pronađen niti jedan grob 17. ili 18. stoljeća. Nasuprot tome, na žumberačkom groblju istražen je velik dio crkvenog dvorišta, a u unutrašnjosti crkve samo kripta. Kako bi se što uspješnije odredili socijalni identiteti na oba groblja, napravljen je detaljan katalog grobova te je provedena analiza svih relevantnih arheoloških podataka: položaj groba u odnosu na crkvu i njegova orijentacija, način pokopa – u lijesu, platnu, grobnim konstrukcijama i sl. – te prisutnost nalaza u grobovima, njihova vrsta, kvaliteta i kvantiteta. Kao dodatnu pomoć pri identifikaciji nekih nalaza poslužili su ondašnji vizualni izvori, a radi dobivanja cjelokupne slike o pokopanima, u interpretaciju su uključeni i rezultati antropoloških analiza, uključujući i patologije. Dva groblja su međusobno uspoređivana po navedenim parametrima, a potom i s usporednim istovremenim europskim lokalitetima Srednje Europe, većinom s područja Habsburške Monarhije. Na Prozorju su na taj način identificirana dva svećenička groba te nekoliko grobova ekonomski moćnijih pojedinaca, od kojih za jednog temeljem povijesnih izvora možemo zaključiti da je bio plemić. S druge strane, izuzev dviju pokojnica pokopanih u kripti koje su bile plemićkog staleža, osobe pokopane na žumberačkom groblju nisu se mogle detaljnije staleški i ekonomski stratificirati. Primijećeno je tek da su kod osoba pokopanih u ljesovima nalazi češći nego kod onih u kojima nema njihovih tragova, te da su grobovi u kojima su pronađene medaljice ili križevi s nekog udaljenijeg hodočašća u pravilu bogatiji nalazima u odnosu na ostale. Uz to u Žumberku su pronađeni neki nalazi kojih nema na Prozorju, prvenstveno broševi i željezne šivaće igle. Broševi su sastavni dio nošnje grkokatolkinja te su pomoću njih uspješno identificirani njihovi grobovi. Željezne šivaće igle, za koje se pretpostavlja da su služile privezivanju mrtvačkog platna, ne pronalaze se na drugim grobljima kontinentalne Hrvatske, već samo na dinarskom prostoru s kojega su, između ostalog, prebjezi i došli na Žumberačkog gorje te se s toga mogu smatrati utjecajem novopridošlog stanovništva. S druge strane, na Prozorju su gumbi najčešći nalaz, a u Žumberku su pronađeni u manje od 1 % grobova. U nekoliko muških grobova na Prozorju pronađeni su u tri niza na trupu, a, uz pomoć slikovnih portreta, interpretirani su dijelom dolmana, muške jakne s visokim ovratnikom i dugim rukavima, osnovnim komadom gospodskog odjela 18. stoljeća kojeg su u to vrijeme većinom nosili plemići.The core of this dissertation is made up of the study of the 17th and 18th-century graves of two sites, St. Martin at Prozorje and St. Nicholas the Bishop in Žumberak. These two cemeteries are marked by considerable differences and were located in two separate administrative units. In the 17th and 18th centuries, Prozorje was part of Civilian Croatia, while Žumberak was part of the Military Frontier. In the first half of the 16th century, the scarcely populated Žumberak Mountains were settled by refugees, mostly of the Eastern Rite Catholicism, arriving from the territory under Ottoman control. The historical sources reveal that until the first Greek Catholic churches were built in the first half of the 17th century, the refugees used Roman Catholic churches. It is assumed that both Roman Catholics and Greek Catholics were buried around St. Nicolas church in Žumberak. On the other hand, only Roman Catholics were buried at Prozorje. An aggravating circumstance, when it comes to the comparison of these two cemeteries, is that at Prozorje, the church interior, side-chapels, sacristies, and a very small area around the church itself were excavated, but not a single 17th or 18th-century grave was discovered in this particular area. Conversely, a large portion of the church courtyard was excavated in Žumberak, but of the church itself, only the crypt was investigated. With the aim of identifying social identities with as much success as possible at both of these cemeteries, a detailed catalogue of graves was created and an analysis of all relevant archaeological data was conducted: the positions of graves in relation to the church and its orientation, types of burials (coffin burials, shroud burials, burial chambers, etc.) and the presence of finds in graves, together with the type, quality, and quantity of these finds. Visual sources were used as an additional help with the identification of certain finds, while the results of anthropological analyses and pathologies provided a more complete image of the deceased individuals. These two cemeteries were mutually compared using the said parameters before also being compared with contemporaneous European sites of Central Europe, mostly the Habsburg Monarchy. Owing to this, two priest graves were identified at Prozorje, together with several graves of affluent individuals, one of which, thanks to written sources, can be identified as a nobleman. On the other hand, the persons buried at the Žumberak cemetery could not be stratified according to their social class or economic power, except for two noble women buried in the crypt. It was observed that finds were more common in coffin burials compared to the ones without the coffins and that graves that included medals or crosses from a distant pilgrim site typically included more finds than others. Moreover, Žumberak yielded some finds Prozorje did not, primarily brooches and iron sewing needles. Brooches are essential part of the Greek Catholic women’s costume. Therefore, graves in which they were found are interpreted as those belonging to the Greek Catholics. Iron sewing needles are assumed to have been used for securing the shroud which have not been discovered at any other cemetery in continental Croatia. They, however, have been found at the cemeteries of the Dinara area, from which some of the refugees settled in Žumberak originated. Usage of the iron sewing needles in graves can therefore be interpreted as influence of newly settled community. Conversely, the most common finds at Prozorje are buttons which were found in less than one percent of graves from Žumberak. Several male graves at Prozorje yielded three sequences of buttons on their torso. Using portraits from this period, these were interpreted as parts of a dolman, men’s long-sleeved jacket with high collar, a basic 18th-century gentleman’s garment at the time mostly worn by noblemen

Magazines of Split Literary Circle

Istraživanje 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

Stelarc and the Posthuman Body

Doktorska 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

An intellectual history of Croatian modern architecture in Zagreb (1900-1980)

Intelektualna povijest kao zasebna povijesna poddisciplina je u zapadnoeuropskoj i angloameričkoj historiografiji prisutna još od 1940-ih godina, kada je američki filozof i povjesničar Arthur Lovejoy (1940.) pokrenuo časopis Journal of the History of Ideas. Od početnog temelja povijesti ideja, intelektualna povijest se razvila u niz smjerova i pristupa, često tražeći i interdisciplinarnost (npr. povijest koncepata ili Begriffsgeschichte u Njemačkoj, povijest političke misli u sklopu tzv. Cambridge škole, pristup povezivanja socio-ekonomskih i političkih fenomena s književnošću na Sveučilištu Sussex, itd.). Upravo zato je ova poddisciplina poželjan okvir istraživanja fenomena modernosti u urbanom kontekstu – pa tako i moderne arhitekture u Zagrebu. Glavna teza rada je da diskurs o modernoj arhitekturi odnosno definiranje problema njene pojave, razvoja i šireg prihvaćanja na razini tekstova otvara pristupe analizi političkih, socio-ekonomskih, kulturnih i intelektualnih aspekata društvenog razvoja Zagreba i Hrvatske općenito. Tako postavljena, tema otvara nekoliko razina intelektualne povijesti kao poddiscipline paralelno: kao povijest ideje i koncepcije, povijest uskih elita (zanimanja, određenog tipa intelektualaca) ili intelektualnih rasprava i prijepora. Primarni izvori ovog istraživanja su brojni tekstovi arhitekata i drugih intelektualaca zainteresiranih za pojavu, afirmaciju i razvoj moderne arhitekture u dugom trajanju moderne arhitekture. Upravo zato su 1900. i 1980. godine kronoloških odrednice, jer predstavljaju jasne točke: Viktor Kovačić 1900. objavljuje svoj manifestni tekst „Moderna arhitektura“, a 1980. godine u časopisu Arhitektura izlazi velika rasprava s okruglog stola o fenomenu postmoderne u arhitekturi. Cilj ovog istraživanja je pronalaženje, analiza i kontekstualizacija ključnih tekstova arhitekata (i drugih stručnjaka) koji su zastupali ideje moderne arhitekture. To prije svega podrazumijeva čitanje i povezivanje izvora s društveno-povijesnim kontekstom. Prateći ideju modernosti, u duljem trajanju između 1900. i 1980. godine, u okviru intelektualne povijesti se proučava ujedno povijest ideje modernog na primjeru tekstova o arhitekturi, odnosno razvoj i promjene u shvaćanju ili značenju koncepta moderne arhitekture. Takav pristup podrazumijeva povezivanje sfera urbane povijesti s društvenom poviješću kao i političkom. Zagreb se kao primjer nameće prije svega jer se radi o nepobitnom hrvatskom središtu od 19. stoljeća te je logični odabir zbog formiranja ideje moderne arhitekture u Hrvatskoj općenito, kao i kasnije središte (domaćeg) obrazovanja arhitekata. Radi svega toga se u raspravama o gradu najčešće javlja i pitanje moderne arhitekture. Osim navedenoga, intelektualna povijest arhitekata i njihovih tekstova također otkriva međuodnos hrvatske arhitekture s bitnim utjecajima izvana (Srednja Europa, Zapadna Europa, Istočna Europa, Sjedinjene Države), odnosno sagledava u kojoj su mjeri hrvatski arhitekti internacionalni, a u kojoj mjeri njihovi tekstovi korespondiraju sa situacijom u Hrvatskoj, odnosno Zagrebu te na što stavljaju naglasak. Analizom ključnih tekstova, prvenstveno arhitekata, a zatim i drugih intelektualaca koji pišu o modernoj arhitekturi, dobiva se bitan izvor za intelektualni razvoj misli o arhitekturi, mijenama u poimanju modernosti, kao i arhitektonske struke koja se u različitim razdobljima povijesti kroz 20. stoljeće nameće kao manje ili više važna u intelektualnom, društvenom, kulturnom, ali i političkom životuAs a prominent distinctive subdiscipline, intellectual history has been present in Western European and Anglo-American historiography since the first half of the 20th century, starting with the American philosopher and historian Arthur Lovejoy (1940) and his Journal of the History of Ideas. The German tradition of the so-called history of the mind/spirit (Geistesgeschichte) was also influential. From the initial basis of the history of ideas, intellectual history has developed into a series of directions and approaches, taking often specific methodological paths and meaning different levels of interdisciplinarity: these are, for example, the history of concepts or Begriffsgeschichte in Germany, the history of political thought within the so-called Cambridge school, intellectual history as a link between socioeconomic and political phenomena with the history of literature at the University of Sussex, etc. This is precisely why intellectual history offers a desirable framework for researching the phenomenon of modernity, which almost necessarily means analyzing an urban (sub)context. Various problems of understanding, defining or developing attitudes towards modernity and its role in the dominant discourses of certain periods are questioned here at the level of texts on modern architecture (intellectual history) in relation to the city of Zagreb as a spatial research determinant (urban history). The main thesis is that the discourse on modern architecture, i.e. defining its origin, development and wider acceptance at a textual level sheds light on different political, socio-economic, cultural and intellectual aspects of the social development of Zagreb (and Croatia/Austria-Hungary/Yugoslavia in general). The topic connects several levels of intellectual history in parallel: as the history of ideas and concepts, the history of urban elites (occupations, certain types of intellectuals) or intellectual debates and controversies. The primary sources of this research are numerous texts by architects and other intellectuals interested in the emergence, affirmation and development of modern architecture in the long run of modern architecture. That is precisely why the years 1900 and 1980 are chronological determinants, representing clear intellectual breaking points: Viktor Kovačić publishes his manifesto "Modern Architecture" in 1900, and in 1980 a large round table discussion on the phenomenon of postmodernism in architecture is published in the magazine Arhitektura (Architecture). Starting from Kovačić and his manifesto, this thesis follows the long duration of an idea that is textually defined and communicated, both to the profession and to the general public, political elites, other intellectuals, etc. By analyzing key texts by experts on architecture and modern architecture a more complete picture of the history of an idea is provided. The thesis provides an answer to the question of what were the constituent elements of that idea at a certain moment in the past and why exactly those elements were highlighted. Between Kovačić's manifesto in 1900 and 1980, important texts appeared in the public domain that, each in their own way, influenced the discussion of modern architecture and its definition in a wider social context: from Kovačić to the collapse of the Habsburg Monarchy, K. Strajnić, A. G. Matoš, V. Lunaček, P. Senjanović and others join this discussion, from 1918 to the end of World War II main texts are written by D. Ibler, E. Weissmann, M. Krleža, S. Planić, B. Rajakovac, P. Knoll, Z. Požgaj, A. Albini, J. Seissel, V. Antolić, A. Freudenreich, K. Ostrogović, etc., and for the period from 1945 to 1980 (in addition to the already mentioned authors who continue to participate in the discussion) A. Mohorovičić, N. Šegvić, A. Mutnjaković, S. Sekulić-Gvozdanović, A. Pasinović, R. Ivančević, Z. Kolacio, T. Premerl, D. Venturini and many others are part of the discussion. The goal of this research is to systemize, analyze and contextualize key texts of architects (and other experts) who discussed the idea(s) of modern architecture. First of all, this implies reading and connecting the sources with the socio-historical context. Such an approach implies connecting the spheres of urban history with social history as well as political history. Zagreb stands out as an example, first of all because it is an undeniable Croatian center since the 19th century and is a logical choice due to the formation of the idea of modern architecture in Croatia in general, as well as the later center of (domestic) education of architects and their professional activity. Because of all this, the question of modern architecture often arises in the context of discussions on the city itself. In addition to the above, the intellectual history of architects and their texts also reveals the interrelationship of Croatian architecture with important external influences (Central Europe, Western Europe, Eastern Europe, the Soviet Union and the United States), that is, it looks at the extent to which Croatian architects are international, and to what extent their texts correspond to the situation in Croatia, i.e. Zagreb. Modern architectural tendencies started emerging in Croatia at the turn of the 20th century. At the same time, a vivid intellectual discourse – on the notions of modernity, the principles of modernism, and its importance to the society – was blooming under the influence of Vienna and Otto Wagner's school of thought, especially Adolf Loos. At the beginning of the 20th century, architects were still educated at foreign universities, primarily in Vienna, but also in France and Germany. Immediately at the beginning of the interwar period, in 1919, the schooling of future architects will begin in Zagreb. Beside the important Technical College, which in 1926 would become part of the University of Zagreb as the Technical Faculty, especially the Architectural department of the Academy of Fine Arts under the leadership of Drago Ibler brought dynamics to education and different approaches to architecture in Croatia. The expansion of the city of Zagreb and the constant increase in the number of inhabitants, as well as the redefinition of the city's borders, represent a challenge not only to architects, but also to the city itself. The interwar period laid the foundations for the acceptance of modern architecture. The dissolution of Austria-Hungary in 1918 marked an important turning point which heavily influenced the intellectual discourse on modern architecture in Zagreb. The development of modern architecture and the changing political context – the formation of the Kingdom of Serbs, Croats and Slovenes; the later Kingdom of Yugoslavia; as well as the formation of the Independent State of Croatia in 1941 – were reflected in the discussions and nuances of the perceptions of modernity, a process which modified the role of the architect itself. During World War II the extraordinary dominance of politics directly reflected on the concept of modernity. Discussions on the principles of modern architecture continued after the end of World War II and the formation of the socialist Yugoslavia in 1945. However, the discourse was modified and adapted to the new political and social changes, which were caused by war. This led to important modifications in the presentation of the programme of modern architecture, as well the role of the architect and the architectural profession in urban environments (Zagreb in particular) and society in general. By the end of the war and the (re)establishment of Yugoslavia, modern architecture once again became the reference point of the new regime and directly connected to its modernization matrix. In doing so, modernist principles are reexamined, and in some cases ideologically harmonized. After the definitive rejection of influence from the Soviet Union, architecture took advantage of the opportunity in the coming post-war/Cold war reconstruction and construction, combining foreign influences with domestic needs. In this period, the connection between architecture and urban planning is most visible, which is especially reflected in Zagreb. This dominantly harmonious situation lasted until the end of the 1970s. The emergence of more individual approaches and stratification of principles marked the beginning of new aspirations in the form of postmodernism. By analyzing key texts on modern architecture, written primarily by architects (and also other well-informed intellectuals), essential sources for the intellectual development of the concept of modernity in Croatia and Zagreb are reevaluated and contextualized

Zadovoljstvo učenika dvojezičnom nastavom na francuskom jeziku u hrvatskim školama

Cette recherche examine la satisfaction des élèves envers le programme bilingue en français dans les écoles croates, en se concentrant sur leurs progrès et compétences linguistiques. Une approche mixte, utilisant des questionnaires quantitatifs et qualitatifs, a été adoptée. Les résultats montrent que la principale motivation des élèves était d'améliorer leur niveau de français. À la fin du programme, la majorité des élèves étaient satisfaits de leurs compétences linguistiques. Bien que des critiques aient été émises, telles que le manque de communication orale et de matériel pédagogique en français, les élèves ont rapporté un enrichissement de leur vocabulaire et une meilleure compréhension de la culture française. Cependant, les notes finales n'ont pas montré une amélioration significative. En somme, la recherche a permis de mettre en lumière les réussites et les défis du programme.Ovo istraživanje ispituje zadovoljstvo učenika francuskim dvojezičnim programom u hrvatskim školama te njihov jezični napredak i vještine. Korišten je mješoviti pristup putem kvantitativnih i kvalitativnih upitnika. Rezultati pokazuju da je glavna motivacija učenika bila poboljšati razinu francuskog jezika te da su na kraju programa većinom bili zadovoljni svojim znanjem jezika. Iako je bilo kritika, poput nedostatka usmene komunikacije i nastavnih materijala na francuskom, učenici su istaknuli napredak u vokabularu i boljem razumijevanju francuske kulture. Međutim, konačne ocjene nisu pokazale značajno poboljšanje. Ukratko, istraživanje je uspješno prikazalo uspjehe i izazove programa

Impact of characteristic of electronic scolarly journals on digital archiving management

Uvidom u obilježja elektroničkih znanstvenih časopisa koji su počeli izlaziti 2012. godine, u radu su identificirane i istražene one kategorije časopisa koje su najugroženije glede dugoročnog očuvanja, pri čemu su usporedno analizirani digitalno arhivirani i nearhivirani časopisi. Cilj rada bio je utvrditi vezu između određenih obilježja znanstvenih časopisa i njihova digitalnog arhiviranja. Deskriptivna obilježja znanstvenih časopisa preuzeta su iz baze Ulrichsweb, dok je status o digitalnom arhiviranju časopisa provjeravan u registru Keepers. Bibliometrijska analiza časopisa provedena je prema pokazateljima iz baze podataka Web of Science. Kategorizacija izdavača ispitivanih časopisa, kao i agencija za arhiviranje, provedena je temeljem podataka dobivenih anketnim upitnikom te temeljem relevantne literature. Ishodima istraživanja dobivena su saznanja o digitalnom arhiviranju znanstvenih časopisa, a na temelju kategorizacije časopisa, izdavača te agencija za arhiviranje, predložen je model primjerenosti agencija za arhiviranje pojedinoj kategoriji izdavača, odnosno časopisa.The thesis provides an insight into the characteristics of electronic scholarly journals published since 2012. It identifies and examines the categories of journals that are most at risk in terms of long-term preservation, by analysing digitally archived and non-archived journals. The aim of this thesis is to determine the relationship between the characteristics of scholarly journals and their digital archiving. The descriptive characteristics of scholarly journals were obtained from the Ulrichsweb database, while the digital archiving status of the journals was checked in the Keepers Registry. The bibliometric analysis of the journals was carried out using indicators from the Web of Science database. The categorisation of the publishers of surveyed journals as well as archiving agencies, was based on the data from the questionnaire, as well as on relevant literature. The results of the research expand the knowledge about digital archiving of scientific journals. Based on the categorisation of scholarly journals, publishers and archiving agencies, a suitability model for archiving agencies and particular categories of publishers or journals is proposed

Hunter gatherers’ diet across the Pleistocene – Holocene transition on the eastern Adriatic coast – mammal and mollusc assemblages from Vlakno cave on Dugi Otok

Doktorski 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