78 research outputs found
Ancient mythology in sovereign film mask
Suzila sam istraživanje antiÄke mitologije na dvije naizgled opreÄne kulture, nordijsku i helensku to jest grÄku, gdje su vidljivije razlike u predstavljanju na srebrnom platnu. ZapoÄela sam analizu utjecaja i razvoja mitologije kroz samo znaÄenje mita i mitologije. Onda prelazim na vjerovanja i priÄe antiÄkih kultura a tek poslije toga prouÄavala sam njihovo odijevanje. AntiÄki zapisi mitoloÅ”kih priÄa, osim Å”to su ekranizirani, daju vizure odijevanja opisima koje sadrže. Umjetnost i obrtniÅ”tvo svih oblika služilo mi je kao odliÄan izvor informacija ne samo o mitologije veÄ ponajprije odijevanju. Iako ima mnogo oÄuvanih arheoloÅ”kih pronalazaka grÄke kulture to je suprotnost u nordijskoj. Tek s cjelokupnom slikom o mitologiji i odijevanju kreÄem u analizu filmova koji svojim kostimima istiÄu ili negiraju kulturu antike te na koje se sve naÄine suvremeni film odnosi i shvaÄa mitologiju i odijevanje antike. Može se kroz suvremeni film vidjeti kako se odbacuje odijevanje antike ali ne u svrhu maske kao boljeg komunikatora s publikom nego postepenog zatupljivanja iste.Iāve narrowed down my research of ancient mythology to two seemingly opposing cultures, Nordic and Hellenic that is Greek, where there are more visible differences in their representation on the silver screen. To begin the analyses of impact and development of mythology Iāve went through the very meaning of myth and mythology. Then Iām going through beliefs and stories of ancient cultures and only after that to study their clothing. Ancient texts depicting mythological tales, aside that there are movies based on them, present a visual by describing the dress. Art and craft of all shapes served as a great source of information not only of mythology but firstly about dress. Aldo there are many archeological finds of Greek culture that is the opposite in Nordic. Only with the whole picture about mythology and dress begins the analyses of movies that assert or negate ancient culture and what is the manner in which contemporary cinema relates to and comprehends ancient mythology and dress. It can be observed through contemporary cinema how ancient dress is discarded but not for the purpose of better communication with the public but it gradually dullens the same
Ancient mythology in sovereign film mask
Suzila sam istraživanje antiÄke mitologije na dvije naizgled opreÄne kulture, nordijsku i helensku to jest grÄku, gdje su vidljivije razlike u predstavljanju na srebrnom platnu. ZapoÄela sam analizu utjecaja i razvoja mitologije kroz samo znaÄenje mita i mitologije. Onda prelazim na vjerovanja i priÄe antiÄkih kultura a tek poslije toga prouÄavala sam njihovo odijevanje. AntiÄki zapisi mitoloÅ”kih priÄa, osim Å”to su ekranizirani, daju vizure odijevanja opisima koje sadrže. Umjetnost i obrtniÅ”tvo svih oblika služilo mi je kao odliÄan izvor informacija ne samo o mitologije veÄ ponajprije odijevanju. Iako ima mnogo oÄuvanih arheoloÅ”kih pronalazaka grÄke kulture to je suprotnost u nordijskoj. Tek s cjelokupnom slikom o mitologiji i odijevanju kreÄem u analizu filmova koji svojim kostimima istiÄu ili negiraju kulturu antike te na koje se sve naÄine suvremeni film odnosi i shvaÄa mitologiju i odijevanje antike. Može se kroz suvremeni film vidjeti kako se odbacuje odijevanje antike ali ne u svrhu maske kao boljeg komunikatora s publikom nego postepenog zatupljivanja iste.Iāve narrowed down my research of ancient mythology to two seemingly opposing cultures, Nordic and Hellenic that is Greek, where there are more visible differences in their representation on the silver screen. To begin the analyses of impact and development of mythology Iāve went through the very meaning of myth and mythology. Then Iām going through beliefs and stories of ancient cultures and only after that to study their clothing. Ancient texts depicting mythological tales, aside that there are movies based on them, present a visual by describing the dress. Art and craft of all shapes served as a great source of information not only of mythology but firstly about dress. Aldo there are many archeological finds of Greek culture that is the opposite in Nordic. Only with the whole picture about mythology and dress begins the analyses of movies that assert or negate ancient culture and what is the manner in which contemporary cinema relates to and comprehends ancient mythology and dress. It can be observed through contemporary cinema how ancient dress is discarded but not for the purpose of better communication with the public but it gradually dullens the same
Ancient mythology in sovereign film mask
Suzila sam istraživanje antiÄke mitologije na dvije naizgled opreÄne kulture, nordijsku i helensku to jest grÄku, gdje su vidljivije razlike u predstavljanju na srebrnom platnu. ZapoÄela sam analizu utjecaja i razvoja mitologije kroz samo znaÄenje mita i mitologije. Onda prelazim na vjerovanja i priÄe antiÄkih kultura a tek poslije toga prouÄavala sam njihovo odijevanje. AntiÄki zapisi mitoloÅ”kih priÄa, osim Å”to su ekranizirani, daju vizure odijevanja opisima koje sadrže. Umjetnost i obrtniÅ”tvo svih oblika služilo mi je kao odliÄan izvor informacija ne samo o mitologije veÄ ponajprije odijevanju. Iako ima mnogo oÄuvanih arheoloÅ”kih pronalazaka grÄke kulture to je suprotnost u nordijskoj. Tek s cjelokupnom slikom o mitologiji i odijevanju kreÄem u analizu filmova koji svojim kostimima istiÄu ili negiraju kulturu antike te na koje se sve naÄine suvremeni film odnosi i shvaÄa mitologiju i odijevanje antike. Može se kroz suvremeni film vidjeti kako se odbacuje odijevanje antike ali ne u svrhu maske kao boljeg komunikatora s publikom nego postepenog zatupljivanja iste.Iāve narrowed down my research of ancient mythology to two seemingly opposing cultures, Nordic and Hellenic that is Greek, where there are more visible differences in their representation on the silver screen. To begin the analyses of impact and development of mythology Iāve went through the very meaning of myth and mythology. Then Iām going through beliefs and stories of ancient cultures and only after that to study their clothing. Ancient texts depicting mythological tales, aside that there are movies based on them, present a visual by describing the dress. Art and craft of all shapes served as a great source of information not only of mythology but firstly about dress. Aldo there are many archeological finds of Greek culture that is the opposite in Nordic. Only with the whole picture about mythology and dress begins the analyses of movies that assert or negate ancient culture and what is the manner in which contemporary cinema relates to and comprehends ancient mythology and dress. It can be observed through contemporary cinema how ancient dress is discarded but not for the purpose of better communication with the public but it gradually dullens the same
Peran Pemerintah Daerah Kabupaten Sikka Dalam Memberikan Perlindungan Hukum Terhadap Anak Sebagai Korban Kekerasan Seksual di Kabupaten Sikka
Anak merupakan anugera anugerah Tuhan yang wajib dijaga dan dillindungi sesuai dengan mertabatnya sebagai manusia. Sebagai manusia anak memiliki hak yang sama dengan orang dewasa nanum penanganan kekerasan terhadap anak sering kali diabaikan. Banyak anak mengalami kekerasan seksual yang belum berani melaporkan karena tidak memiliki pengetahuan terkait hak-hak anak. Pemerintah Daerah sebagai representative dari negara berkewajiban memberikan perlindungan kepada anak sesuai dengan hak yang diatur oleh peraturan perundang-undangan. Metode penelitian ini adalah penelitian emipiris dengan pendekatan perundang-undangan, fakta dan Jurisprudensi Sosiological dengan sifat deskriptif kualitatif. Hasil penelitian penanganan anak sebagai korban kekerasan seksual di kabupaten Sikka dilakukan berdasarkan Peraturan Daerah Kabupaten Sikka Nomor 12 Tahun 2012 dan Peraturan Bupati Sikka Nomor 35 Tahun 2016 dengan menggandeng beberapa eleman terkait lainnya. Minimnya anggaran serta kurangnya pemahaman masyarakat terhadap hak anak sebagai korban mengakibatkan penanganan terhadap anak sebagai korban kekerasan tidak dapat dilakukan secara optimal. Penyelesaian Kekerasan seksual terhadap anak dilakukan secara kekeluargaan mengakibatkan terjadinya kekerasan seksual pada anak
OdreÄivanje klenbuterola u svinjskoj jetri nakon dužeg davanja doze koja pospjeÅ”uje rast
Liver concentrations of clenbuterol, a Ī²2-adrenergic agonist, were measured by enzyme-linked immunosorbent assay (ELISA) in 12 female pigs on days 0, 7, 14 and 21 after prolonged administration of a growth-promoting dose of clenbuterol. The analytical procedure showed good recovery (>80 %), while intra-assay results showed acceptable variation in individual measurements for all samples to which 0.5, 2 or 5 ng/g clenbuterol were added (RSD 80 % clenbuterol depletion in pig liver occurred during the first 7 days after cessation of administration, however, more than 14 days were required for the clenbuterol concentration to fall below the maximal residual level of 0.5 ng/g. On day 21 of clenbuterol discontinuation, residues of the drug were detectable in pig liver (0.22 ng/g), suggesting that clenbuterol residues persist in liver as an edible tissue and may induce a risk for consumer health.U jetri krmaÄa izmjerena je koncentracija klenbuterola, Ī²2 adrenergiÄkog agonista, 0., 7., 14. i 21. dana nakon Å”to im se prestala davati doza klenbuterola. Za odreÄivanje klenbuterola primijenjena je imunoenzimska metoda (ELISA). ToÄnost je metode ve}a od 80 %, dok su vrijednosti relativne standardne devijacije (RSD) manje od 10 % za svako pojedinaÄno mjerenje uzorka kojemu je dodano 0,5, 2 ili 5 ng/g klenbuterola. Rezultati upuÄuju na to da se viÅ”e od 80 % klenbuterola u jetri razgraÄuje tijekom prvih 7 dana nakon prestanka davanja. Potrebno je viÅ”e od 14 dana da bi koncentracija klenbuterola pala ispod maksimalno dopuÅ”tene razine od 0,5 ng/g. Maseni udjel klenbuterola u jetri (0,22 ng/g), izmjerena 21. dana nakon prestanka davanja, joÅ” je uvijek na razini koja se može odrediti, Å”to pokazuje perzistentnost ostataka klenbuterola u jetri kao jestivom tkivu i može predstavljati rizik za zdravlje potroÅ”aÄa
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