Physical interpretation of the dressed Polyakov loop in the Nambu--Jona-Lasinio model

We investigate the rapid rise of the dressed Polyakov loop in the Nambu--Jona-Lasinio (NJL) model as a function of temperature. In QCD such a behaviour is interpreted as a confinement- deconfinement phase transition. However, we demonstrate that in the NJL model this is simply a remnant of the chiral transition.Comment: Changes in text, title and abstract. Version accepted by PR

Prompt photon - jet angular correlations at central rapidities in p+A collisions

Photon-jet azimuthal correlations in proton-nucleus collisions are a promising tool for gaining information on the gluon distribution of the nucleus in the regime of non-linear color fields. We compute such correlations from the process $g+A\to q \bar{q} \gamma$ in the rapidity regime where both the projectile and target light-cone momentum fractions are small. By integrating over the phase space of the quark which emits the photon, subject to the restriction that the photon picks up most of the transverse momentum (to pass an isolation cut), we effectively obtain a $g+A\to q \gamma$ process. For nearly back-to-back photon-jet configurations we find that it dominates over the leading order process $q+A\to q \gamma$ by two less powers of $Q_\perp / Q_S$, where $\boldsymbol{Q}_\perp$ and $Q_S$ denote the net photon-jet pair momentum and the saturation scale of the nucleus, respectively. We determine the transverse momentum dependent gluon distributions involved in $g+A\to q \gamma$ and the scale where they are evaluated. Finally, we provide analytic expressions for $\langle\cos n\phi\rangle$ moments, where $\phi$ is the angle between $\boldsymbol{Q}_\perp$ and the average photon-jet transverse momentum $\tilde{\boldsymbol{P}}_\perp$, and first qualitative estimates of their transverse momentum dependence.Comment: v3: more elaborated discussions on photon isolation cut, a few new references, results unchanged, accepted for publication in PR

Televizijsko izvješćivanje na studiju “Mediji i kultura društva” Sveučilišta u Dubrovniku

Od samog početka studija „Mediji i kultura društva“ u akademskoj godini 2004/05. na dubrovačkom Sveučilištu, cilj radionice „Televizijsko izvješćivanje“ bio je uvijek isti: uz uvodni pregled nastanka i razvoja televizije u svijetu i na našim prostorima, te upoznavanja s osnovnim karakteristikama televizijskoga medija, težište je na praktičnom radu studenata. Na kraju tri odrađena semestra predmeta „Televizijsko izvješćivanje“ na preddiplomskom studiju „Mediji i kultura društva“ Sveučilišta u Dubrovniku, čiji je sadržaj prikazan u ovome radu, studenti su osposobljeni da se bez ikakvoga kompleksa i nepoznanica uključe u eventualni rad u bilo kojoj televizijskoj kući ili dopisništvu. Ne bi im trebala biti nepoznanica niti tehnika, niti oblici televizijskoga izražavanja

BANKING OF CROATIA IN THE KINGDOM OF YUGOSLAVIA

merged into the Kingdom of Serbs, Croats and Slovenes after World War I, it became economically the most developed region of the new state. The Kingdom of Serbs, Croats and Slovenes changed its name in 1929 into The Kingdom of Yugoslavia, which, in turn, disappeared in the turmoil of World War II.The citizens trusted the private Croatian banks more than the newly founded state banks. Croatian banks financed the economic growth of the new Yugoslav state and the main investor of Croatian industry in the 1920s was "Prva hrvatska štedionica" bank.Because of the conflict of financial interests between Zagreb and Belgrade, the National Bank "Narodna banka Kraljevine Jugoslavije" didn’t intervene in time to save this leading Croatian bank in the 1931 crisis.Thus weakened and rehabilitated, the "Prva hrvatska štedionica" bank lost its leading role in the region.The exceptions to banking downfall in Croatia were the banks in its far South that turned their banking to the service industry which was less affected by the great economic crisis than the industry.The initial weakening of the Croatian economy after 1918 started in the field of monetary politics, yet the collapse of Croatian private banking which occurred after 1918 in the field of monetary politics, as well as the fall of private banking in Croatia after the Great Depression totally destroyed the economic domination of former Austro-Hungarian provinces in the Kingdom of Yugoslavia.Such an outcome was disastrous for the Croatian economy; with the ruin of banking Croatia lost its main sources of finance

Udžbenici i priručnici glazbe u posljednja dva desetljeća 19. stoljeća u Zagrebu na primjeru Vjenceslava Novaka: prilog povijesti glazbene pedagogije

There has not been a lot of musicological research on the 19th century music textbooks and manuals as historical sources for the development of musical didactics and pedagogy of the time. Vjenceslav Novak’s textbook Introduction to Music Harmony, intended for students of the teachers’ school, is being analysed in correlation with Novak’s text published in the report of Music Institute’s school in 1891. Both the text and the textbook made significant contributions to the definition of theory of music (especially a part of it the author refers to as “basic theory of music”), defining pedagogical and didactical principles of teaching, and to the making of a comprehensive curriculum for theoretical disciplines. The author found the meaning and purpose of these disciplines in aesthetics, and the ultimate purpose of music in knowing God. In this sense he viewed the educational process as a path from the practical to the speculative. The textbook is also a reflection of the sociopolitical circumstances it was written in. Aesthetical and theological principles of Novak’s concept of theory of music enabled teaching to be a medium for religious and moral upbringing, and the use of folk songs gave it the necessary element of national consciousness.Glazbeni udžbenici i priručnici 19. stoljeća u muzikologiji su slabo istraženi povijesni izvori koji svjedoče o razvoju glazbene didaktike i pedagogije toga vremena. Udžbenik Vjenceslava Novaka Priprava k nauci o glazbenoj harmoniji, namijenjen polaznicima učiteljske škole, analizira se u odnosu na tekst koji je Novak objavio 1891. u izvješću škole Glazbenog zavoda. Zajedno s tim tekstom Novakov je udžbenik značajno doprinio definiciji teorije glazbe, a osobito njezine discipline koju autor naziva „elementarna nauka o teoriji glasbe“, određenju pedagoškodidaktičkih načela nastave te stvaranju cjelovitog obrazovnog kurikuluma teorijskih disciplina. Smisao i značenje tih disciplina autor je tražio u estetici, a konačnu svrhu bavljenja glazbom vidio je u spoznavanju Boga. Zato je obrazovni proces shvaćao kao put usmjeren od iskustvenog ka spekulativnom. Udžbenik odražava i društveno-politički kontekst u kojem je nastao. Estetička i teološka načela Novakova koncepta teorije glazbe omogućila su da se nastava ostvari kao medij religijskog i moralnog odgoja, a stavljajući naglasak na narodne pjesme ostvaren je imperativ poticanja nacionalne svijesti