Nostalgija kao (ne)ozbiljna emocija: igre i igračke kao podobjekt nostalgije u svakodnevnim narativnim praksama o djetinjstvu

This paper analyzes the contemporary context of nostalgia, recollection and narration of childhood events on the basis of field notes collected by means of different methodological techniques. The narrative quest for the past produces interpretations of past events and experiences and opens the space to the feeling of nostalgia, or nostalgic stories. This paper aims to present a small portion of the captured everyday life in which games and toys appear as any other subobject or pseudoobject of nostalgia, but with a distance from one’s own childhood experience. We utilize Donald Braid’s approach which opens the space for observing the transmission of oral personal narratives and the transmission of emotions in and through language.This paper analyzes the contemporary context of nostalgia, recollection and narration of childhood events on the basis of field notes collected by means of different methodological techniques. The narrative quest for the past produces interpretations of past events and experiences and opens the space to the feeling of nostalgia, or nostalgic stories. This paper aims to present a small portion of the captured everyday life in which games and toys appear as any other subobject or pseudoobject of nostalgia, but with a distance from one’s own childhood experience. We utilize Donald Braid’s approach which opens the space for observing the transmission of oral personal narratives and the transmission of emotions in and through language

The church of St. George in Ajdanovac and Serbian art of the second half of the XV century

Предмет проучавања докторске дисертације је црква Светог Ђорђа у Ајдановцу и српска уметност настала у периоду од пада Смедерева 1459. године до почетка XVI столећа. Рад је посвећен првенствено католикону манастира Ајдановца, који је од свих споменика разматраног периода научној јавности најмање познат. У другом делу рада дат је преглед споменика изграђених и/или осликаних у другој половини XV века, као и књижног украса и икона. Циљ истраживања је свеобухватно сагледавање особености архитектуре и живописа ајдановачког храма и одређивање места тог споменика у оквирима српске уметности друге половине XV века. Анализом архитектуре ајдановачког католикона дошло се до закључка да је то један од ретких споменика у целости саграђен у другој половини XV века и да се од других грађевина разматраног периода разликује првенствено по отвореном трему. Разматрањем целокупног сликарства цркве дат је увид у тематски програм живописа. Такође, након идентификовања највећег броја сачуваних сцена и појединачних фигура уочено је да су у ајдановачком живопису заступљене неке од представа ретко сликаних како у српској тако и у византијској уметности. На основу сигнатура крај светитеља и натписа на свицима закључено је и да је главну улогу у украшавању ајдановачке цркве имао грчки сликар. У другом делу дисертације начињен је преглед српске уметности друге половине XV века. Показало се да је градитељска делатност на подручјима насељеним Србима делимично замрла, на шта су по свој прилици утицали строги османски прописи по питању подизања нових цркава. Сачуване живописане целине сведоче о одржавању уметничког континуитета у првом периоду под Османлијама. Сагледавањем сликаних остварења тог периода уочено је да су, осим неизоставних циклуса и појединачних фигура, у репертоаре сликаних храмова уношене занимљиве новине које указују на то да са гашењем српске Деспотовине уметничка креативност није у потпуности утихнула. У прилог томе говоре и илуминирани рукописи у којима су очуване неке од најупечатљивијих заставица орнаменталног типа. На крају, увидом у градитељске подухвате, сликане програме, илуминиране рукописе и иконе друге половине XV века стиче се јаснија слика о целокупном уметничком стваралаштву српског народа у првом периоду након гашења српске Деспотовине, којем по својим особеностима у потпуности припадају архитектура и сликарство цркве Светог Ђорђа у Ајдановцу.The subject of the study of the doctoral dissertation is the church of St. George in Ajdanovac and Serbian art created in the period after the fall of Smederevo in 1459 to the beginning of the 16th century. The study primarily focuses on the katholikon of the monastery of Ajdanovac, which is the least known to the scientific public of all the monuments of the considered period. Оverview on the monuments built and/or painted in the second half of the 15th century, as well as illuminated manuscripts and icons is given in the second part of the study. The aim of the research is a comprehensive overview of the artistic peculiarities of the architecture and paintings of the church in Ajdanovac and to determine that monument and its place within the Serbian art of the second half of the 15th century. Based on the analysis of the architecture of the katholikon in Ajdanovac, a conclusion was reached that it is one of the few monuments built in its entirety in the second half of the 15th century and that it differs from other buildings of the considered period primarily by its open porch. Analysis of the entire fresco program of the church has enabled an insight into the thematic program of paintings. Also, after identifying the largest number of preserved scenes and individual figures, it was concluded that some of the representations in Ajdanovac belong to the rarely painted themes in both Serbian and Byzantine art. Based on the signatures and the inscriptions on the scrolls, it has been noted that the main role in the decoration of the church in Ajdanovac belonged to a Greek painter. The overview of Serbian art of the second half of the 15th century, presented in the second part of the dissertation, indicates that the construction activity in areas inhabited by Serbs was rare, which was probably the result of the strict Ottoman regulations regarding the construction of new churches. Nevertheless, the preserved painted church ensembles of that time witness the maintenance of artistic continuity in the first period under the Ottomans. In addition to the traditional cycles and individual figures in the painted ensembles of that period, the production of new and peculiar scenes was an indication that the artistic creativity did not completely vanished with the end of the Serbian Despotism. This thesis is supported by a certain number of illuminated manuscripts in which some of the most impressive flags of the ornamental type have been preserved. Finnaly, an insight into the architecture, painted programs, illuminated manuscripts and icons of the second half of the 15th century gives a clearer picture of the entire artistic creativity production of the Serbian people in the first period after the end of the Serbian Despotism to which belong the architecture and painting of the church of St. George in Ajdanovac

The first written records of the Croatian language

Našu je srednjovjekovnu pismenost obilježilo glagoljično pismo po tome što su najstariji hrvatskim jezikom pisani spomenici ostvareni glagoljicom i po tome što se upotrebljavala do početka 16.stoljeća. Korpus glagoljičnih tekstova započinju epigrafski spomenici. Najstariji su oni iz 11.stoljeća: Krčki natpis, Valunska ploča, Plominski natpis, Bašćanska ploča, Jurandvorski ulomci. Ove navedeni spomenici ukazuju kako se glagoljica najprije ukorijenila na Kvarnerskom području i njegovim susjednim područjima. Bosančica ili hrvatska ćirilica posebna je vrsta ćirilskog pisma koje se koristilo na prostoru hrvatskog jezičnog područja, točnije u Dalmaciji, Bosni i Hercegovini te ponekad i na području središnje Hrvatske, do Une i Kupe na sjeveru i sjeverozapadu. Epigrafski spomenici iz 11./12. stoljeća svjedoče o počecima toga pisma. Za njezino širenje i opstanak od srednjeg vijeka do druge polovice 19. stoljeća najzaslužniji su popovi glagoljaši, franjevci i benediktinci. Od sredine 14.stoljeća točnije od Reda i zakona sestara dominikanki (1345.) i Šibenske molitve, hrvatski se tekstovi počinju pisati i latinicom. Latinica je uspjela prodrijeti na područja na kojima su se već upotrebljavale glagoljica i ćirilica i potisnuti ih. Ostala se pisma povlače pred latinicom; glagoljica se povukla među samostanski zidove, na područja Senjske i Krčke biskupije gdje su crkvene vlasti dopuštale služenje mise na crkvenoslavenskom jeziku i tu se upotrebljavala za knjige nabožnog karaktera. Povlači se i ćirilica s obale u unutrašnjost, a prevlast dobiva latinica

Language of the Oldest Glagolitic Script

Glagoljica je prvo slavensko pismo, koje je sastavio Konstantin Ćiril 863. godine prije puta među moravske Slavene. Osnovni znakovi Ćirilova pisma jesu: trokut, što označuje Sveto Trojstvo, kružnica, što označuje puninu Božanstva i križ koji je simbol Krista. Glagoljsko se pismo poslije smjestilo između dvije crte te iz oblih oblika postalo uglato. Takav se uglati tip glagoljice naziva i hrvatska glagoljica. Kao karakteristiku razlikovanja oble i uglate glagoljice, uz oblost i uglatost također se primjećuje i: postojanje ili nestajanje glasova za nazale, za jery, za jedan ili oba poluglasa, reduciranje brojeva koji su zadržali samo brojevnu vrijednost, obilježavanje palatalizacije, linijski sistemi i posebno morfologija pojedinih slova. Najpouzdaniji materijalni oslonac za paleografsko, jezično i historiografsko proučavanje najstarije etape hrvatskoga glagoljaštva najstariji su glagoljični epigrafski fragmenti, oni iz 11. stoljeća većinom pronađeni na Kvarneru. Stariji od najpoznatije Bašćanske ploče zasigurno su Plominski natpis, Valunska ploča, Krčki natpis, te Konavoski glagoljski natpis i Natpis Župe dubrovačke, pronađeni na sasvim drugom južnom kraju istočne jadranske obale. S prijelaza iz 11. u 12. stoljeće poznata je Bašćanska ploča, kao i Plastovski ulomak, Supetarski ulomak, Kninski ulomak, koji su jasni pokazatelji jezičnih promjena formativnoga razdoblja glagoljice na tlu Hrvatske.The Glagolitic script is the first Slavs' script made by Konstantin Ćiril in 863 just before his trip to Moravian Slavs. The basic symbols of this script are: triangle which denotes Trinity, circle marking the totality of divinity and the cross as a symbol of Christ. Afterwards, Glagolitic settled among two lines and changed its shape from rounded to angular. This kind of angular Glagolitic is also called the Croatian Glagolitic. As a characteristic according to which we can differentiate rounded and angular Glagolitic, besides roundness and angularity there are: the existence or omission of nasal sounds, jery sounds, one or both semitone, the reduction of numbers which retained only numerical value, marking of palatalization, linear system and especially the morphology of certain letters. The most reliable materials for paleographic, lingual and historiographical study of the oldest Croatian Glagolitic stage are the oldest Glagolitic epigraphic fragments, dating from 11th century and found on Kvarner. Older than the Baška tablet are definitely the Plomin tablet, Valun tablet, Krk inscription, Glagolitic Konavle inscription and the incsription od Župa Dubrovačka, found on the southern part of Eastern Adriatic coast. In the 11th and 12th century there are Baška tablet and fragments from Plastovo, Supetar and Knin which are very clear indicators of lingual modification of formative Glagolitic period in Croati

Language of the Oldest Glagolitic Script

Glagoljica je prvo slavensko pismo, koje je sastavio Konstantin Ćiril 863. godine prije puta među moravske Slavene. Osnovni znakovi Ćirilova pisma jesu: trokut, što označuje Sveto Trojstvo, kružnica, što označuje puninu Božanstva i križ koji je simbol Krista. Glagoljsko se pismo poslije smjestilo između dvije crte te iz oblih oblika postalo uglato. Takav se uglati tip glagoljice naziva i hrvatska glagoljica. Kao karakteristiku razlikovanja oble i uglate glagoljice, uz oblost i uglatost također se primjećuje i: postojanje ili nestajanje glasova za nazale, za jery, za jedan ili oba poluglasa, reduciranje brojeva koji su zadržali samo brojevnu vrijednost, obilježavanje palatalizacije, linijski sistemi i posebno morfologija pojedinih slova. Najpouzdaniji materijalni oslonac za paleografsko, jezično i historiografsko proučavanje najstarije etape hrvatskoga glagoljaštva najstariji su glagoljični epigrafski fragmenti, oni iz 11. stoljeća većinom pronađeni na Kvarneru. Stariji od najpoznatije Bašćanske ploče zasigurno su Plominski natpis, Valunska ploča, Krčki natpis, te Konavoski glagoljski natpis i Natpis Župe dubrovačke, pronađeni na sasvim drugom južnom kraju istočne jadranske obale. S prijelaza iz 11. u 12. stoljeće poznata je Bašćanska ploča, kao i Plastovski ulomak, Supetarski ulomak, Kninski ulomak, koji su jasni pokazatelji jezičnih promjena formativnoga razdoblja glagoljice na tlu Hrvatske.The Glagolitic script is the first Slavs' script made by Konstantin Ćiril in 863 just before his trip to Moravian Slavs. The basic symbols of this script are: triangle which denotes Trinity, circle marking the totality of divinity and the cross as a symbol of Christ. Afterwards, Glagolitic settled among two lines and changed its shape from rounded to angular. This kind of angular Glagolitic is also called the Croatian Glagolitic. As a characteristic according to which we can differentiate rounded and angular Glagolitic, besides roundness and angularity there are: the existence or omission of nasal sounds, jery sounds, one or both semitone, the reduction of numbers which retained only numerical value, marking of palatalization, linear system and especially the morphology of certain letters. The most reliable materials for paleographic, lingual and historiographical study of the oldest Croatian Glagolitic stage are the oldest Glagolitic epigraphic fragments, dating from 11th century and found on Kvarner. Older than the Baška tablet are definitely the Plomin tablet, Valun tablet, Krk inscription, Glagolitic Konavle inscription and the incsription od Župa Dubrovačka, found on the southern part of Eastern Adriatic coast. In the 11th and 12th century there are Baška tablet and fragments from Plastovo, Supetar and Knin which are very clear indicators of lingual modification of formative Glagolitic period in Croati

The first written records of the Croatian language

Našu je srednjovjekovnu pismenost obilježilo glagoljično pismo po tome što su najstariji hrvatskim jezikom pisani spomenici ostvareni glagoljicom i po tome što se upotrebljavala do početka 16.stoljeća. Korpus glagoljičnih tekstova započinju epigrafski spomenici. Najstariji su oni iz 11.stoljeća: Krčki natpis, Valunska ploča, Plominski natpis, Bašćanska ploča, Jurandvorski ulomci. Ove navedeni spomenici ukazuju kako se glagoljica najprije ukorijenila na Kvarnerskom području i njegovim susjednim područjima. Bosančica ili hrvatska ćirilica posebna je vrsta ćirilskog pisma koje se koristilo na prostoru hrvatskog jezičnog područja, točnije u Dalmaciji, Bosni i Hercegovini te ponekad i na području središnje Hrvatske, do Une i Kupe na sjeveru i sjeverozapadu. Epigrafski spomenici iz 11./12. stoljeća svjedoče o počecima toga pisma. Za njezino širenje i opstanak od srednjeg vijeka do druge polovice 19. stoljeća najzaslužniji su popovi glagoljaši, franjevci i benediktinci. Od sredine 14.stoljeća točnije od Reda i zakona sestara dominikanki (1345.) i Šibenske molitve, hrvatski se tekstovi počinju pisati i latinicom. Latinica je uspjela prodrijeti na područja na kojima su se već upotrebljavale glagoljica i ćirilica i potisnuti ih. Ostala se pisma povlače pred latinicom; glagoljica se povukla među samostanski zidove, na područja Senjske i Krčke biskupije gdje su crkvene vlasti dopuštale služenje mise na crkvenoslavenskom jeziku i tu se upotrebljavala za knjige nabožnog karaktera. Povlači se i ćirilica s obale u unutrašnjost, a prevlast dobiva latinica

Short music biography of Bosnia and Herzegovina (1878–1918): concert recordings (October 24, 2014); Academy of Music in Sarajevo, Sarajevo, 2014; Maja A ́vckar Zlatarević, piano; Concert organizer and editor Dr. Lana Paćuka, [Rezension]

Die CD Kratka muzička biografija Bosne i Hercegovine (1878–1918) [dt.: Eine kurze musikalische Biografie von Bosnien und Herzegowina] entstand dank der Forschungsarbeiten der jungen bosnisch-herzegowinischen Musikwissenschaftlerin Lana Paćuka, Dozentin an der Musikakademie in Sarajevo

Ispitivanje genotoksičnog efekta Carbadoxa in vitro i in vivo

Due to its bactericidal activity Carbadox is used for treatment of swine dysentery and salmonellosis. Also, it can be used as a factor for growth stimulation. Carbadox is the only drug for certain health problems in swine production. At the same time Carbadox is slowly metabolized. The aim of this work was an examination of Carbadox genotoxicity in vivo and in vitro. In vitro genotoxicity of different doses of Carbadox was examined on cultured human peripheral blood lymphocytes. Damage to chromosomal DNA was observed under the microscope as sister chromatid exchanges (SCEs). In vivo genotoxicity of Carbadox was examined on metaphase chromosomes from bone marrow cells of BALB/c strain male mice. Experimental animals were intragastrically treated with three different doses of Carbadox. In addition there were negative and a positive control groups of mice. Animals in the positive control were treated with a known clastogenic agent, cyclophosphamide, in a dose of 0,4 mg/kg b.w. In vivo genotoxicity of Carbadox was examined through eight experimental cycles. The results showed that this preparation with an antimicrobial mode of action induced damage to chromosomal DNA in human lymphocytes as well as structural and numerical chromosomal changes in bone marrow cells of BALB/c mice. All the examined concentrations of Carbadox significantly increased SCEs and consistently manifested a dose-dependent pattern. Also, all the examined doses caused karyotypic changes in vivo inducing numerical and structural chromosomal aberrations in mouse bone marrow cells. There was a positive correlation between the number of bone marrow cells with cytogenetic changes and the dose of Carbadox. It could be concluded that Carbadox expressed potential genotoxicity, especially at the highest investigated doses.Carbadox je sintetsko organsko jedinjenje (Metil-3(2quinoksal-metilen) karbozat-N1-N4 dioksid) sa baktericidnim dejstvom koje se koristi u suzbijanju svinjske dizenterije i salmoneloze i kao faktor koji stimuliše rast. Zbog spore metaboličke obrade i dugog zadržavanja u organizmu tretiranih životinja, a još vise zbog njegovog toksičnog, citotoksičnog i kancerogenog dejstva, Carbadox u novije vreme predmet detaljnih proučavanja. U ovom radu su izneti rezultati in vitro ispitivanja efekta Carbadoxa na limfocite periferne krvi čoveka praćenjem promena na nivou molekula DNK na osnovu učestalosti razmene sestrinskih hromatida. Citogenetička ispitivanja uticaja Carbadoxa, posle intragastrične aplikacije, na nastanak hromozomskih promena u ćelijama kostne srži obavljena su na miševima BALB/c soja. Hromozomi za kariotipsku analizu su dobijeni korišćenjem direktne metode ispiranja srži dugih cevastih kostiju. Rezultati ispitivanja efekata različitih doza Carbadoxa in vitro na limfocitima čoveka i in vivo na ćelijama kostne srži miševa BALB/c ukazali su da ovaj antibiotik poseduje visok genotoksični potencijal i jasno manifestuje mutageni efekat

The painted program in the dome of the Church of St. George in Dobrilovina

The fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Pee. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Pec

From the History of Military Music in the Austro-Hungarian Monarchy

The subject of this paper is the work of Franz Jaksch (1851–1931), a versatile musician who served as the bandmaster of the Imperial and Royal Navy Orchestra in Pula, the main port of the Austro-Hungarian monarchy in the period between 1899 and 1917. It was in Pula that he composed most of his pieces tailored for military orchestras, opera stages and bourgeois salons. During his bandmaster term, the Navy Orchestra performed some of the most significant orchestral pieces from the symphonic repertoire