Intermediality in Nedjeljko Fabrio’s Novel Berenikina kosa [Berenice’s Hair]

Intermedijalna istraživanja književnosti i glazbe posljednjih su godina naglo porasla u skladu s uznapredovalim poststrukturalističkim umjetničkim praksama i interdisciplinarnim znanstvenim pristupima. Teorije o intermedijalnosti iznose tri osnovna oblika fuzije glazbe i književnosti, a to su: glazba u književnosti, književnost u glazbi, glazba i književnost. Najosjetljivija je monomedijalna varijanta - glazba u književnosti - koja pretpostavlja fikcionalno hipostaziranje teksta u njegovoj reprezentativnosti. Premda granice medija objektivno uvijek postoje, određuju suodnose i izravno utječu na dobivene efekte, intermedijalni produkti su u pravilu uvijek zanimljivi za povijest književnosti i estetike napose kao eksplicitni primjeri simptoma transgresije tradicionalnih granica. Ovaj rad se bavi intermedijalnom analizom monomedijalnog slučaja na primjeru romana Berenikina kosa Nedjeljka Fabrija čiji podnaslov - Familienfuge - upućuje na glazbene kvalitete samoga djela. Rezultati ispitivanja pokazali su da učinci showing modela (s aspekta distinkcije showing: telling) u funkciji muzikalizacije fikcije imaju snažnije djelovanje nego analogne točke dvaju medija locirane na razini njihovih struktura.Poststructuralist art and interdisciplinary approaches to science have contributed to a growing interest among researchers for intermediality between literature and music. Intermediality theories point to three fundamental forms of fusion between literature and music: music within literature; literature within music; and, music and literature. The monomedial variant, i.e., music within literature, is the most delicate of all three variants. Though media boundaries objectively remain in existence, influencing mutual relations and their effects, products of intermediality remain of interest for literary and aesthetic history as explicit symptoms of going beyond such boundaries and as attempts to overcome traditional limitations. This paper explores the intermediality of a monomedial case, Berenice’s Hair, a novel by Nedjeljko Fabrio, subtitled "Familienfuge", to lead us towards its music features. Results of analysis reveal a higher intensity of the effects of the "shown" model in the function of musicalisation of fiction, compared to the analogue points of the two media located at their structural level(s)

Enquiring into the Reception of Josip Kaplan\u27s Compositions

U ovome se radu propituje skladateljski profil Josipa Kaplana kroz recepciju vokalne i instrumentalne glazbe s osobitim zanimanjem za potonju. Uvidom u skladateljevu ostavštinu utvrđeno je da je Kaplanov instrumentalni korpus u nerazmjeru s recepcijom njegova stvaralaštva, barem u onoj mjeri u kojoj taj korpus po svom opsegu i dijapazonu govori u prilog autorove instrumentalne orijentacije. Ispitivanje nerazmjera postavilo je za uvjet rekonstruiranje skladateljeva djelovanja, okolnosti, predodžbi i (pred)uvjerenja, na čijim se tragovima sigurno dolazi do otkrivanja formativnih silnica koje su instrumentalni dio Kaplanova glazbenog opusa učinile recepcijski manje vidljivijim od vokalnoga. Rad se temelji na iščitavanju građe koja se nalazi u autorovoj ostavštini, od okupljenih tekstualnih priloga, preko privatne korespondencije, notnih autografa i dnevnika pa do novinskih zapisa o autorovu djelovanju. Cilj se rada usmjerava na reinterpretaciju Kaplanova skladateljskog profila, odnosno na reafirmaciju njegovih instrumentalnih djela.This article considers Josip Kaplan’s composer profile through the reception of his vocal and instrumental pieces. Upon examination of the composer’s legacy, it has been established that there is a disproportion between his instrumental corpus and the reception of Kaplan primarily as a vocal composer. Namely, the volume and the diapason of the instrumental corpus support the prominent author’s instrumental orientation. Examination of the disproportion imposed the need for a reconstruction of the composer’s activities, circumstances, perceptions and attitudes, on the traces of which there are hidden formative forces, which made the instrumental part of Kaplan’s music opus less visible than his vocal one, as far as reception was concerned. This paper is based on interpreting the music records of the composer’s legacy and it includes textual material, ranging from private correspondence, sheet music and autographs, and his diary, to newspaper articles about the composer’s activities. The main objective of this paper is the reinterpretation of Kaplan’s composer profile, namely, a reaffirmation of his instrumental pieces within the framework of Croatian musical creativity

Texts of Popular Songs in the Construction of National Memory

U radu se istražuje proces konstruiranja nacionalnog sjećanja kroz tekstove hrvatskih popularnih pjesama emitiranih na radiju tijekom Dana državnosti u vremenskom periodu od 2008 do 2012 godine. Polazi se od opće pretpostavke da je popularna glazba dominantan oblik popularne kulture koji odražava društvenu zbilju. Pri tome je efikasan identifikator prenošenja i promocije nacionalnog identiteta zbog opetovanog medijskog emitiranja putem kojeg učinkovito prodire do kognitivno-afektivnih sustava slušača. Na temelju korpusa najizvođenijih pjesama deset opserviranih radijskih postaja, rad analizira ontološku strukturu pjesama i identificira sjećanja kroz popularnoglazbene prakse u obilježavanju komemorativne kulture u Hrvatskoj.This work is based on the discourse and conceptual analysis of popular songs broadcasted on the radio from the perspective of culture of memory. The basic assumption of the study is that the conceptual structure of the lyrics reflects the identity of the Croatian society. The corpus of songs broadcasted on Statehood Day has been created over 5 consecutive years, yielding a list consisting of the most frequent 19 out of 31,372 songs contained in 50 music play lists. Multidimensional social and discourse aspects were analysed in terms of their role in the formation of cultural knowledge about the national identity. The corpus based conceptual analysis identified the key concepts from the perspective of embodied constructions of the meaning that highlight the continuity of the nation’s existence and refer to the Homeland War as a badge of identity of the Croatian society. The paper provides the perspectives and methodologies for further research of the role of popular songs in the process of Croatian cultural memory

Microstructural characterization of Cu82.3Al8.3Mn9.4 shape memory alloy after rolling

In this paper, the microstructure of Cu82.3Al8.3Mn9.4 (in wt. %) shape memory alloy after hot and cold rolling was investigated. The Cu82.3Al8.3Mn9.4 alloy was produced by a vertical continuous casting method in the form a cylinder rod of 8 mm in diameter. After the casting, hot and cold rolling was performed. By hot rolling a strip with a thickness of 1.75 mm was obtained, while by cold rolling a strip with a thickness of 1.02 mm was produced. After the rolling process, heat treatment was performed. Heat treatment was carried out by solution annealing at 900 °C held for 30 minutes and water quenched immediately after heating. The microstructure characterization of the investigated alloy was carried out by optical microscopy (OM), scanning electron microscopy (SEM) equipped with a device for energy dispersive spectroscopy (EDS). Phase transformation temperatures and fusion enthalpies were determined by differential scanning calorimetry (DSC) method. The homogenous martensite microstructure was confirmed by OM and SEM micrographs after casting. During rolling the two-phase microstructure occurred. Results of DSC analysis showed martensite start (Ms), martensite finish (Mf), austenite start (As) and austenite finish (Af) temperatures

Report on SHAFE policies, strategies and funding

The objective of Working Group (WG) 4 of the COST Action NET4Age-Friendly is to examine existing policies, advocacy, and funding opportunities and to build up relations with policy makers and funding organisations. Also, to synthesize and improve existing knowledge and models to develop from effective business and evaluation models, as well as to guarantee quality and education, proper dissemination and ensure the future of the Action. The Working Group further aims to enable capacity building to improve interdisciplinary participation, to promote knowledge exchange and to foster a cross-European interdisciplinary research capacity, to improve cooperation and co-creation with cross-sectors stakeholders and to introduce and educate students SHAFE implementation and sustainability (CB01, CB03, CB04, CB05). To enable the achievement of the objectives of Working Group 4, the Leader of the Working Group, the Chair and Vice-Chair, in close cooperation with the Science Communication Coordinator, developed a template (see annex 1) to map the current state of SHAFE policies, funding opportunities and networking in the COST member countries of the Action. On invitation, the Working Group lead received contributions from 37 countries, in a total of 85 Action members. The contributions provide an overview of the diversity of SHAFE policies and opportunities in Europe and beyond. These were not edited or revised and are a result of the main areas of expertise and knowledge of the contributors; thus, gaps in areas or content are possible and these shall be further explored in the following works and reports of this WG. But this preliminary mapping is of huge importance to proceed with the WG activities. In the following chapters, an introduction on the need of SHAFE policies is presented, followed by a summary of the main approaches to be pursued for the next period of work. The deliverable finishes with the opportunities of capacity building, networking and funding that will be relevant to undertake within the frame of Working Group 4 and the total COST Action. The total of country contributions is presented in the annex of this deliverable

Report on Shafe Policies, Strategies and Funding

The objective of Working Group 4 of the COST Action NET4Age-Friendly is to examine existing policies, advocacy, and funding opportunities and to build up relations with policy makers and funding organisations. Also, to synthesize and improve existing knowledge and models to develop from effective business and evaluation models, as well as to guarantee quality and education, proper dissemination and ensure the future of the Action. The Working Group further aims to enable capacity building to improve interdisciplinary participation, to promote knowledge exchange and to foster a cross-European interdisciplinary research capacity, to improve cooperation and co-creation with cross-sectors stakeholders and to introduce and educate students SHAFE implementation and sustainability. To enable the achievement of the objectives of Working Group 4, the Leader of the Working Group, the Chair and Vice-Chair, in close cooperation with the Science Communication Coordinator, developed a template to map the current state of SHAFE policies, funding opportunities and networking in the COST member countries of the Action. On invitation, the Working Group lead received contributions from 37 countries, in a total of 85 Action members. The contributions provide an overview of the diversity of SHAFE policies and opportunities in Europe and beyond. These were not edited or revised and are a result of the main areas of expertise and knowledge of the contributors; thus, gaps in areas or content are possible and these shall be further explored in the following works and reports of this WG. But this preliminary mapping is of huge importance to proceed with the WG activities. In the following chapters, an introduction on the need of SHAFE policies is presented, followed by a summary of the main approaches to be pursued for the next period of work. The deliverable finishes with the opportunities of capacity building, networking and funding that will be relevant to undertake within the frame of Working Group 4 and the total COST Action. The total of country contributions is presented in the annex of this deliverable

Glazbeni diskurz u književnosti Milutina Cihlara Nehajeva i Nedjeljka Fabrija : doktorska disertacija

Intermedijalni odnos književnosti i glazbe je praksa koja je u umjetnosti bez premca. Posebna je i zanimljiva zbog toga što su medijalna privlačenja u stalnoj izmjeni. Dobiveni rezultati su u pravilu uvijek visoko kreativna i kompleksna umjetnička ostvarenja među kojima se posebno ističu ona koja uključuju glazbu. Glazba i književnost u tom pogledu nemaju premca, ni po opsegu ni po raznovrsnosti. Glazbeni diskurz u hrvatskoj književnosti je rjeđa, ali svakako prisutna pojava koja se u odnosu na europsku pokazuje skromnijom. Zato je istraživanje glazbenosti u književnosti Milutin Cihlara Nehaja (1880-1931) i Nedjeljka Fabrija (1937) upravo ciljano popunjavanje stanja hrvatske intermedijalne slike. Nehajev i Fabrio su pisanjem glazbenih kritika/kronika nastavili tradiciju koju je započeo August Šenoa. Njihov je, dakle, glazbeno kritički i kronički diskurz centralna tema ovog rada što istraživački, s jedne strane prati književno-strateške planove, a s druge strane glazbeno-historiografske. Navedeni glazbeni diskurzi su publicistički radovi: Nehajevljeve kritike na hrvatskom jeziku (pisao je kritike i na njemačkom jeziku) iz Jutarnjeg lista i Fabriove kronike iz časopisa Republika, kasnije objedinjene u izdanju Maestro i njegov šegrt U tekstovima kritika i kronika razabire se intermedijalnost telling oblika što znači da se radi o tekstovima u kojima je kroz opis fiksirana slika glazbenog djela i njegova sudbina koja je bila određena akutuelnim sistemom društvenih vrijednosti. Međutim, Nedjeljko Fabrio je u svojim kronikama otišao dalje. Pratio je recepciju glazbe u Hrvatskoj kroz publicističku građu, a posebno se bavio i recepcijom hrvatskih pisaca analizirajući glazbene diskurze u njihovoj literaturi. Zbog toga su glazbene kronike Maestro i njegov šegrt izrazito citatno intertekstualizirane. Obzirom da se radi o verbalno-glazbenom diskurzu koji dolazi iz pera književnika, glazbenokritičko mišljenje koje predmnijeva glazbenu stručnost ustuknulo je pred diskurzom koji se predstavlja više kao jednog određenog načina percipiranja i imaginiranja stvarnosti. Razlučivanje granica kritičarskog glazbenog profila Nehajeva i Fabrija potvrđuju heuristički karakter verbalnog-glazbenog diskurza. U tom smislu glazbene kritike i kronike ovih autora kreću različitim putovima kako bi došle do onog mjesta na kojemu se presjecaju putovi imaginacije i logičkog modeliranja raznih kauzaliteta karakterističnih upravo za to i takvo glazbeno djelo. Budući da problem svake metode krije ili nemogućnosti stvaranja novih pojmova i vokabulara, ovaj rad donosi rezultate istraživanja metoda i načina ostvarenog verbalističkog tumačenja glazbe. Izvjesno je da glazbeni diskurzi Nehajeva i Fabrija donose u tom smislu novinu koju je moguće izjednačiti sa umjetničkom kreacijom, ustvari imaginacijom koja je uvijek zanimljiva produktivna redukcija. Rad utvrđuje da u umjetničkom diskurzu dvojice pisaca: romani, pripovjetke, drame i sl. nema većeg intermedijalnog sažimanja. Izuzetak je jedino Fabrijev roman Berenikina kosa podnaslov familienfuge implicira glazbeni oblik Ova intermedijalnost modusa showing poseban je i rijedak slučaj u hrvatskoj literatskoj praksi.Intermediality is a very old artistic practice. It is remarkable and interesting since the attractions among the media are in a state of constant flux. As a rule, the outcome is highly creative and complex artistic output, the most outstanding being that which involves music. In this context, music and literature are unparalleled, in their scope as well as variety. The music discourse in Croatian literature is quite a rare phenomenon although certainly present, but compared to the European it is indeed a modest one. This is why the research of music in the works of Milutin Cihlar Nehajev (1880- 1931) and Nedjeljko Fabrio (193 7) serves the purpose of filling in the gaps in the area of intermediality in Croatia. Through writing their mus1c critiques / chronicles, Nehajev and Fabrio continued the tradition initiated by August Šenoa. It is their discourse of music critique and music chronicles that make up the central topic of this thesis, which deals with literary - strategic planes on one hand, and music- historic ones on the other. The mentioned music discourses are found in the following publications: Nehajevs's critical reviews in Croatian language from Jutarnji List (he wrote reviews in German as well) and Fabrio's chronicles from the Republika magazine, published later under the title Maestro and his Apprentice. Throughout the texts of reviews and chronicles the intermediality of the telling form is evident, which means that these are the texts where through description, the image of the musical piece is fixed as well as its destiny, determined by the current system of social values. However, in his chronicles Nedjeljko Fabrio went even further. He monitored the reception of music in the Croatian publications and was especially concemed with the recepti on of Croatian writers by analysing the music discourses in their work. This is why the music chronicles Maestro and his Apprentice are presented as an intertextually (quotation) complex patchwork. Since what we are dealing with here isa verbal-music discourse stemming from the writer's pen, the critical opinion which presupposes expertise in music has given way to discourse that presents itself as a testimony of a certain way of perceiving and imagining of the reality. The distinction of boundaries of the critical and musical profile of Nehajev and Fabrio confirm the heuristic character of the verbal - musical discourse. In this sense, their musical reviews and chronicles go their separate ways to reach the point where the paths of imagination and logical modelling of various causalities characteristic for the very musical work cross over. Keeping in mind that every critical method bas some weaknesses, i.e. the limitations or inability to create new notions and vocabulary, this work presents the results of the research of means and ways of the existing verbal interpretation of music. It is certain that in this sense, music discourses of Nehajev and Fabrio bring a novelty that equals artistic creation, or actually the imagination, which has always been an interesting productive reduction. The thesis establishes the fact that in the artistic discourses of the two authors, in their novels, stories, plays etc. there is no significant intermedial crossover. The only exception is Fabrio's novel Berenice' hair, whose subtitle, the familienfuge implies a musical form. This intermediality of the showing mode is a special and rare case in the Croatian literary practice

(Ne)poznati skladatelj Marcel Tyberg (1893-1944)

Marcel Tyberg (1893-1944) composer, organist and music teacher, was born into a musical family of Polish origin in Vienna, Austria. In the year 1910, the Tyberg family moved away from Vienna and settled in Volosko, a resort on the Kvarner Bay, at that time part of the Austrian territory of the Austro-Hungarian Empire. Tyberg and his wife had performed in Opatija in the year 1903, before having moved there. Marcelo Tyberg, the father, was the principal teacher of the »Hertzka« music school in Vienna (1881-1882), orchestra leader at the Regional Theatre and the headmaster of the music school (1983-1987) in Lemberg, the capital at that time of the Austrian Province of Galicia, today’s Lavov in Ukraine. Wanda Tyberg was an accomplished pianist with a rich concert career. She studied in Vienna in the class of the famous pianist Theodor Leschetizky. The first performances of Marcel Tyberg’s works were recorded in the early 1920s, when his mother Wanda Tyberg performed his Sonata and Legend for Piano, while the Rijeka branch of the Italian Orchestral Association performed his first orchestral piece, Symphony No. 1 in C Minor at the G. Verdi Municipal Theatre in Rijeka. Marcel Tyberg left an imposing music opus, three Symphonies, a Scherzo and Finale for Schubert’s Unfinished Symphony, Masses, one Piano Trio, two Piano Sonatas, two Studies for Piano, a Legend for Piano, a String Sextet, 36 Solo Songs, a Te Deum for Choir, Soloists and Organ, and other compositions. From 1938, his musical activities become overshadowed by the daily repressive and persecuting practices of the Italian Kingdom Fascist regime. Namely, in February 1939, due to the Jewish origin of one of his parents and in spite of his being Catholic, Marcel Tyberg was entered into the Fascist registry of the »Jewish race« for the Municipality of Opatija. It was on the basis of this evidence that he was arrested in Opatija on 4 July 1944, during the period of German occupation which had been established in the autumn of 1943. Soon afterwards, he was deported to the Nazi camp Risiera di San Sabba in Trieste, and then to the Auschwitz concentration camp. Other details of his Calvary are still unknown. The composer’s musical legacy is in the United States today. Namely, while anticipating a possible deportation, Tyberg allegedly entrusted his works to Milan Mihich, who later immigrated to the U.S. His son, Enrico Mihich, continued safeguarding them. Owing to his efforts, the Tyberg Musical Legacy Fund was later established at the Foundation for Jewish Philanthropies in Buffalo, with the aim of obtaining the funds for their publication. Recent research on the life and work of Marcel Tyberg in the Kvarner region has uncovered the autograph of 26 Preludes for Organ, the work that Tyberg wrote for his Rijeka friends, the pianist Wilma and the organist Remo Venucci.U radu se istražuje život i djelovanje Marcela Tyberga (1893-1944), austrijskog skladatelja, orguljaša i glazbenog pedagoga stradalog u holokaustu, koji od 1910. do 1944. živi u Opatiji i Rijeci. Također je iskazano zanimanje za roditelje, majku Wandu Tyberg, pijanisticu, i oca Marcela Tyberga, violinista, koji su se isticali u glazbenom životu Rijeke i Opatije. Rezultati istraživanja koje se temelji na dosad neobrađenoj izvornoj arhivskoj građi i novinskom tisku u Državnom arhivu u Rijeci te objavljenim i neobjavljenim stručnim prilozima o ovoj temi rasvjetljuju djelovanje Marcela Tyberga u kontekstu povijesno-političkih okolnosti proizišlih slijedom državnopravnih i upravnih mijena u ovome dijelu zapadne Hrvatske u prvoj polovini 20. stoljeća. Pritom se pobijaju netočni podatci i otvaraju nove teme istraživanja u rekonstruiranju skladateljeve biografije. Ovdje se ponajprije misli na temu fašističkih protužidovskih progona 1938-1943, za vrijeme kojih počinje skladateljeva tragična sudbina