A message from beyond the grave: Hercules rescuing Hesione on a Stojnik funerary monument

Među retkim rimskim nadgrobnim spomenicima sa mitološkim predstavama iz Gornje Mezije izdvaja se spomenik od sivog krečnjaka iz Stojnika, i to po ikonografskoj sceni - jedinstvenoj na prostoru rimskih provincija centralnog Balkana - koja prikazuje Herkulovo spasavanje Hesione od morskog čudovišta ketosa. U pitanju je nadgrobna stela arhitektonskog tipa, sa trougaonim zabatom, mitološkom scenom predstavljenom u edikuli i sa natpisnim poljem. Funerarni spomenik je bogato dekorisan različitim motivima, a iz teksta natpisa saznaje se da je posvećen Senima mrtvih zbog smrti Publija Elija Viktorinusa, veterana kohorte II Aurelije nove. Spomenik su podigli njegova supruga Aurelija Rufina i njihov sin Publije Elije Akucianus. Kohorta II Aurelija nova bila je jedna od šest kohorti koje su pred kraj drugog veka osnovane u cilju čuvanja rudnika u oblasti Šumadije, i to regrutovanjem uglavnom lokalnog stanovništva, kome je najverovatnije pripadao i preminuli Publije Elije Akucianus. S obzirom na to da su arheološka istraživanja potvrdila postojanje vojnog logora na prostoru Stojnika, kao i postojanje bolnice za vojnike kohorte II Aurelije nove u pomenutoj oblasti, pretpostavlja se da je ova kohorta bila zadužena za bezbednost kako rudničke eksploatacije olova, srebra, zlata i gvožđa, tako i rudara iz oblasti Stojnika. Nadgrobni spomenik sadrži nekoliko ikonografskih scena različite sadržine: u sredini trougaonog zabata prikazani su ženska figura koja stoji i desno od nje pas koji pije iz suda (?), odnosno sud, u sredini scene, sa panterom desno od njega (usled nedostatka gornjeg dela scene i uticaja atmosferalija, nemoguće je izvršiti sigurnu identifikaciju motiva u sredini zabata). U spoljnim uglovima trougaonog zabata predstavljena su dva morska čudovišta, s dugim ribljim repom, kako prednjim nogama stoje na ljudskim lobanjama (?). Ispod trougaonog zabata je tanak friz, a ispod njega je predstavljena edikula sa mitološkom scenom. U centru scene prikazana je mlada naga (ili polunaga) devojka, sa rukama prikovanim za pozadinu (stena?), dok je s njene leve strane prikazan nag muškarac, naglašene muskulature, pored čije se leve noge nalazi batina, koji u rukama ima luk iz kojeg odapinje strelu ka morskom čudovištu što je predstavljeno iz profila sa devojčine desne strane. Morsko čudovište ketos naginje se gornjim delom tela i prednjim nogama prema devojci u nameri da joj naudi. Ispod ove mitološke scene nalazi se friz sa predstavom lova, u kojoj su prikazani jelen (pas?) i dva divlja vepra. Ispod friza se nalazi udubljeno polje sa natpisom, flankirano stubovima sa kapitelima, a ispod njega je prazno polje. Iako Herkulovo oružje u ikonografskoj predstavi spasavanja Hesione nije batina što se nalazi pored njega, već luk sa strelama - luk kao oružje boga pojavljuje se na prvoj do sada poznatoj predstavi Herkulovog spasavanja Hesione iz 7. veka pre n.e. (korintski krater), kao i na još svega tri reljefa sa prostora drugih rimskih provincija. Mitološka predstava Herkulovog spasavanja Hesione od morskog čudovišta pripada njegovim doživljajima nakon pohoda na Amazonke. Pošto deo njegovog obećanja datog bogovima Apolonu i Posejdonu nije ispunjen, na trojanskog kralja Laomedona i Troju poslato je morsko čudovište, a jedini način da se ono umiri bilo je žrtvovanje Laomedonove kćeri Hesione. Laomedon obećava onome ko mu spase kćer svoje besmrtne konje, te Herkul odlazi da se suoči s morskim čudovištem, koje ubija a Hesionu spasava od sigurne smrti. Mit o Herkulu i Hesioni spada u alegorijske priče o pobedi nad smrću i zadobijanju besmrtnog života nakon smrti putem vrline. One su upravo zbog svoje simbolike bile omiljene na rimskim nadgrobnim spomenicima. Herkul, koji je predstavljao jedno od omiljenih vojnih božanstava, zaštitnika rudara i rudnika, ali takođe i boga sa htonskom dimenzijom, bio je, zahvaljujući svom životu i hrabrim delima, idealan primer za smrtnike koji su nastojali da sebi obezbede istu sudbinu poput Herkulove u kontekstu života nakon smrti zasluženog hrabrošću, moralom i časnošću. Eshatološka, a moguće i soteriološka, simbolika nadgrobnog spomenika iz Stojnika dodatno je podvučena predstavom u trougaonom zabatu, motivima morskih čudovišta u spoljnim uglovima zabata i scenom lova u frizu između mitološke scene u edikuli i natpisnog polja spomenika. Pretpostavka je da se u centralnoj predstavi unutar zabata, u prikazu žene sa psom, može prepoznati jedna od htonskih boginja koja je poštovana na rudničkom prostoru Stojnika - DEA Orkija ili Tera Mater, ili pak to da je impliciran dionizijski htonski kontekst, ukoliko je predstavljen sud sa panterom desno od njega. Predstave lova poznate su pak sa sedam nadgrobnih spomenika u Gornjoj Meziji i simbolizuju hrabrost i vrlinu pokojnika putem kojih on dostiže besmrtnost u životu posle smrti. Mitološka predstava Herkulovog spasavanja Hesione bila je u periodu rimske vladavine naročito popularna na nadgrobnim spomenicima iz severnih provincija, a pretpostavlja se da je taj tip predstava u Gornju Meziju dospeo iz Donje Panonije, gde je bio dobro poznat i omiljen, naročito među vojnicima. Mitološka predstava sa nadgrobnog spomenika iz Stojnika ima geografski najbližu analogiju u scenama sa bočnih strana izgubljenog sarkofaga Maksimijane Elije iz Siska, kao što je ikonografski slična predstavama sa reljefa iz Dalfingena i sceni sa nadgrobnog spomenika iz Halštata. Na osnovu stilskih karakteristika, nadgrobni spomenik iz Stojnika datuje se u period od 171. do 200. godine n.e. i predstavlja za sada jedinu predstavu Herkulovog spasavanja Hesione od morskog čudovišta sa prostora rimske provincije Gornje Mezije.The research of this study is dedicated to a unique iconographical scene in the territory of the Central Balkan Roman provinces, of Hercules rescuing Hesione from a sea-monster (ketos), depicted on a funerary monument found in 1931 at the site of Stojnik, in the vicinity of Belgrade, antique Singidunum, and now displayed in the lapidarium of the National Museum in Belgrade. The funerary monument was erected for the deceased, a veteran of cohors II Aurelia nova, Publius Aelius Victorinus, by his wife Aurelia Rufina and their son Publius Aelius Acutianus. The rich iconography of the monument makes it a very important example of funerary art in the period from the end of the 2nd and the beginning of the 3rd century - the eschatological symbolism of the presented scenes and motifs is more than clear and underlines not only the hope of the deceased's family for his eternal and blessed life after death, but also the deceased's victory over death and presents him as a symbol of courage and virtue. The architectural scheme of the monument, along with its iconography, suggests strong artistic influences from Noricum and both the Pannonian provinces, while the the mythical tale of Hercules and Hesione was chosen, it is argued, not only because Hercules was one of the most favoured gods in the Roman army, but also because he was a protector of miners and mines

Jedna klasa sistema za generisanje I distribuciju kriptoloških ključeva zasnovana na više biometrijskih modaliteta

U doktorskoj disertaciji predložena je jedna klasa sistema za generisanje i distribuciju kriptoloških ključeva na osnovu više biometrijskih modaliteta. Teorijskim okvirom obuhvaćena su dva biometrijska modaliteta, otisak prsta i iris. U radnim režimima sistem koristi heš vrednosti koje su dobijene u početnoj fazi, tj. fazi upisa. Osim ovih vrednosti, u upotrebi su pomoćni podaci koji čine da biometrijski podaci budu poništivi i na ovaj način štite privatnost biometrijskih podataka. Takođe, pružaju zaštitu kriptološkim parametrima. Biometrija irisa, kao izvor najbogatiji sa bioinformacijom, upotrebljena je u svrhu ekstrakcije tajnog ključa, dok se za servis autentifikacije koristi otisak prsta. Eksperimentalna analiza koja je obuhvatila kompletan istraživački deo rada u tezi, zasniva se na uzorcima dobijenim iz CASIA biometrijske baze podataka, a postignuti eksperimentalni rezultati ukazuju na značajne doprinose koji u velikoj meri podižu performanse ove klase sistema

AMERIČKA VS NJEMAČKA ACTIVITY-BASED COSTING (ABC) METODA. UČINCI NA UPRAVLJANJE POSLOVNIM ODLUKAMA U AUTOMOBILSKOJ INDUSTRIJI

This paper seeks to describe the role that activity-oriented cost accounting systems, i.e. US American and German activity-based costing, play in the establishment of supply-chainnetworks in the modern automotive industry. These cost accounting systems are the subject of analysis for two reasons: they relatively successfully describe the causality principle between cost drivers and cost objects and represent two different approaches of cost calculation within the activity-oriented concept. Also, the paper attempts to show that the efficiency of these systems is contingent on the value chain activity to which the systems were applied. Although based on identical conceptual frameworks, these systems do not have the same cost allocation purposes in automotive industry.Ovaj rad nastoji opisati ulogu koju sustavi obračuna troškova utemeljeni na aktivnostima, tj. američki i njemački sustav obračuna troškova po aktivnostima imaju u uspostavljanju mreže opskrbe u suvremenoj automobilskoj industriji. Ovi sustavi obračuna troškova su predmet analize iz dva razloga: relativno uspješno opisuju princip uzročnosti izmjeđu izazivača troškova i mjesta troškova i predstavljaju dva različita pristupa obračuna troškova unutar koncepta koji se temelji na aktivnostima. Teži se dokazivanju da učinkovitost ovih sistema ovisi od toga u kom području lanca stvaranja vrijednosti su primjenjeni. Iako se temelje na istom konceptualnom okviru, oni nemaju iste ciljeve obračuna troškova u automobilskoj industriji

Comparative analysis of the traffic accidents in the territory of the city of Užice for 2021 and 2022 using open data and the Streamlit application

Introduction/purpose: With the development of information technologies, the Internet and social networks, the amount of collected data grows year by year at high speed. Data processing and analysis is becoming a necessity without which quality business decisions cannot be made. With the development of data science, tools for processing unstructured data have also been developed. Open data is publicly available data, the processing of which allows gaining new knowledge. The goal of the work is to present the possibility of using open data for research purposes, and their processing through the Streamlit development environment. Methods: This paper will present the Streamlit framework of the Python programming language and its functionality through the analysis of a web application for data analytics. As a case study, a comparative analysis of the traffic accident data on the territory of the Užice Police Department for 2021 and 2022 will be presented. Results: The Streamlit application will be used for the automatic analysis of open data on the traffic accidents in the territory of the Republic of Serbia in order to process the data and test the hypothesis about whether there has been an increase in traffic safety in the territory of the Užice Police Department. Conclusion: This work shows the possibility of using the Streamlit framework for creating an application for processing open data

Funeral banquet, procession or an offering scene – a few remarks on Roman provincial painting

Research on Roman funerary painting is inevitably associated with the reminiscences of real-life events – customs, practices and rites, and shaped by the overall concept of the philosophy of death and artistic traditions. In the case of provincial funerary painting, specific, local interpretations have been noticed so far that often lead toward a simplification of the known patterns and developed models, as well as the stronger influence of symbolism. Because of this local comprehension of artistic solutions and pictorial content, scenes with figural motifs of servants depicted with various gifts to the deceased need to be elaborated and explained through the lens of a dual perspective on funeral rites of the time. The basis for this research are scenes from the territory of today’s Serbia, which are compared to ichnographically or symbolically rendered scenes mostly known from the Eastern Mediterranean

Antioxidant Protection against Curative and Palliative Doses of Ionizing Irradiation in Human Blood Decreases with Aging

Reactive oxygen species (ROS) are independently recognized to play a significant role in radiation-induced damage on healthy tissue and in aging process. However, an age-related alteration of antioxidant (AO) system in radiation response in humans is poorly investigated. The aim of this paper was to evaluate the irradiation effects on the activities and expression of AO system in the blood of healthy women during aging. Blood samples were irradiated with curative and palliative doses of 2 Gy or 9 Gy γ-rays. AO capacity for detoxification of O2•− and H2O2 in response to 2 Gy γ-irradiation decreases in women above 58 years, while in response to 9 Gy shows signs of weakening after 45 years of age. Due to reduction of AO capacity during aging, cytotoxic effects of curative and palliative doses of irradiation, mediated by ROS, may significantly increase in older subjects, while removal of H2O2 excess could reduce them

Nike/Victoria representations in Late Antique Central Balkans

During the archaeological excavations in the north-eastern part of thermae at Constantine the Great’s villa in Mediana in 2022 campaign, in the layer of debris two fragments of marble relief with the presentation of Nike/Victoria standing on the globe were discovered. The fine grain white marble used for the icon with its exquisite modelling suggests that the icon was made from expensive marble by the hands of a skilful artisan in the 2nd or the 3rd century. The fact that the relief was discovered in the area of an imperial residential complex relates it to other known Central Balkan finds with Victoria’s representations, discovered in Galerius’ imperial domain Felix Romuliana and Moesia Superior’s capital Viminacium. All these mythological objects can be dated into the period of the 3rd and the 4th century, attesting that the goddess’ symbolism did not lose any of its popularity in the period of Late Antiquity – on the contrary, it announced the transformation of the goddess into an angel and later on, as the one who blessed the emperors during their coronation. Thus, the question of Victoria’s different roles (goddess or personification) again rises, gaining a new meaning in the early Byzantine period

Pictorial Elements and Principles in the Creation of the Ancient Image Using the Example of Viminacium Funerary Paintings

The aim of the paper is to determine which pictorial elements and principles were dominant in the compositions of Viminacium paintings, based on preserved tomb frescoes. Many of the pictorial elements and principles used played a symbolic role in the content or narrative context. Since the painting of the above-ground structures of ancient Viminacium is preserved only as fragments, the similar use of line, space, and colour, or balance, rhythm, and proportion in tomb paintings could be useful for the future reconstruction and understanding of the particular styles of the artists who were based in Viminacium