EMPATIJA U KNJIŽEVNOSTI: ULOGA LIKA U SABOTAŽI NACIONALISTIČKIH STEREOTIPA I GENERALIZACIJA

The text dealt with the psychological explanation of the phenomenon of empathy as a base in the contribution towards developing the notion of care for other people. Empathy, provided it coincides with moral principles, may play an important role in moral reasoning. We believe that literature affects morality, since it is by reading that one strengthens the ability to enter into another person's individualised life. In the present text we have taken over, promoted and developed the thesis by Martha Nussbaum that „literary understanding develops habits of the mind that lead towards social equality by contributing towards the abolishment of stereotypes that support collective hatred“. (Nussbaum 2005: 125) For the research in this text the role of the character is important in sabotaging stereotypes and generalisations. This is important regardless of the fact whether characters of different nationalities help each other, or the story is about one character who opposes the nationalism of his own group, or the fact that characters who are suffering belong to different nationalities. The published article is part of a wider research that analyses war prose from empathetic and ethical aspect

Zbirka keramike u Etnografskom muzeju Split

Predstavlja se zbirka keramike u Etnografskom muzeju Split, kroz upoznavanje s procesom dokumentacije, čime se nastavlja katalogizacija muzejskog fundusa po grupama predmeta. Pri tome se želi istaknuti važnost stručne obrade predmeta u muzeju kao procesa kojim se dolazi do novih saznanja, koja mogu biti relevantna za daljnja znanstvena istraživanja

NARATIVNI POSTUPCI POETIKE SVJEDOČENJA U BOSANSKOJ RATNOJ PROZI

The text contains analysis of the war prose, namely short stories describing the siege of Sarajevo. In the centre of interest is a narrative strategy that reflects poetics of the first-hand witnessing. According to that, it specifically analyses how narrators testify about the war; who is the one testifying in those stories and what is the role of a narrator in a story. The published article is part of a wider research that analyses war prose from a narratological, empathetic and ethical aspect

Ljubo Babić and folklore

Iz svestrane djelatnosti slikara Ljube Babića izdvojili smo interes za hrvatsku pučku umjetnost koji se javlja već u motivima njegovih ranih slikarskih radova, a intenzivira u četvrtom desetljeću proučavanjem narodnih nošnji. Analizom kolorističkih odnosa, pomoću skala boja, zaključuje da je za hrvatsku narodnu nošnju bitan odnos kromatske skale prema akromatskoj, najčešće u kombinaciji bijele s crvenom. Prepoznavajući naš likovni seljački izraz na području boje kao izraz posebne likovne volje i originalnog duha, Babić postavlja pitanje odnosa kolektivnog i individualnog stvaralaštva, te pretpostavlja da je rješenje naše likovne problematike u njihovom prožimanju.In the versatile activity of painter Ljubo Babić we have concentraded on his interest for folk art, applied as motives in his early works that grew stronger in the forties after studying national costumes. Analyses of the colouration by means of the colour scale lead him to a conclusion that the relations between chromatic and achromatic scale, mostly combinations of red and white, are essential in the Croatian national costume. Rural art and the application of colour is recognised by its specific nerve and originality and when studying collective and individual work he concludes that our art is a unification of both

Carved Distaffs from Drniš

Osam preslica iz Drniša, iz fundusa Etnografskog muzeja u Splitu, dio su zbirke drvorezbarenih predmeta s područja dalmatinskog zaleđa. One pripadaju lopatastome i kopljastome tipu preslica s karakterističnim oblicima vrhova koji podsjećaju na neke arhitektonske forme (zvonici na preslicu, kule). Pojedini geometrijski motivi poznati su još iz prapovijesnog doba, te su široko rasprostranjeni na arheološkome, ali i na recentnome etnografskom materijalu (tekstil). Na preslicama iz Drniša oni su interpretirani u složenijim ornamentalnim cjelinama koje, uz moguće simboličke konotacije, upućuju na pretpostavku o osnovnoj koncepciji kružnoga komponiranja ukrasa, te o magijskome apotropejskome značenju kruga.Eight carved distaffs from Drniš from the Ethnographic Museum in Split belong to the collection of wood-carved objects from the Dalmatian hinterland. They belong to the shovel-shaped and spear-shaped type of distaffs that later developed perhaps from a simple branched-off type. The shapes of its upper part, as surfaces with indented edges perforated and with a dominant ending resemble some architectural shapes (distaff-like belfries, towers). Certain geometrical motifs (dog\u27s leap, double hook, swastika, rosetta) were known already in pre-History and were widely applied not only on archeological, but also on recent ethnographic material (textile). On the distaffs from Drniš they are interpreted in various ways and in more complex ornamental compositions. Analysis of ornaments and possible symbolical connotations suggest a basic circular concept of ornament disposition and a magical apotropaic meaning of the circle. Made mostly at the beginning of the 20th century of a nearly standardized design, distaffs from Drniš belong to the final phase of traditional wood-carving in this region

Folk Costumes In Dalmatia As Clothing Sets With Special Details

U članku se govori o tradicijskom odijevanju u Dalmaciji prema osnovnim tipovima narodnih nošnji (jadranski, dinarski) koji se prožimaju, te o karakterističnijim ukrasnim detaljiima i ženskim oglavljima manjih područja. Pokušavaju se objediniti postojeći podaci iz relevantne etnološke literature s etnografskom građom muzeja i zbirki. Tekst je nastavak članka o tekstilnom rukotvorstvu objavljenog u prethodnom broju ovog časopisa, s odabranim slikovnim prilozima prema koncepciji budućeg monografskog izdanja o narodnoj umjetnosti u Dalmaciji.The article talks about traditional clothing in Dalmatia according to the basic types of folk costumes (Adriatic, Dinaric) that permeate, and about more characteristic decorative details and women\u27s headdresses of smaller areas. Attempts are being made to combine existing data from relevant ethnological literature with the ethnographic material of museums and collections. The text is a continuation of the article on textile handicraft published in the previous issue of this magazine, with selected pictorial contributions according to the concept of the future monographic edition on folk art in Dalmatia. Keywords

Dalmatian Folk Art in Austro-Hungarian Monarchy at the Beginning of the 20th Century

Polazeći od knjige "Dalmatien und seine Volkskunst", autorice Natalie Bruck-Auffenberg, govori se o interesu bečkih kulturnih krugova bliskih Dvoru za likovni folklor u Dalmaciji. On se promatra kroz začetke turističkih djelatnosti, te se uočava pojava komercijalizacije tzv. narodne umjetnosti. Takav interes za tradicijsku kulturu Dalmacije početkom 20. stoljeća ukazuje na procese europeiziranja hrvatske kulture, kojima se ona modernizirala. U skladu s tim domaća inteligencija valorizira likovni folklor kao nacionalnu vrijednost.The paper examines the Austrian interest in the folk artistic expression in Dalmatia. The most important was the book Dalmatien und seine Volkskunst published in German in 1910. and in Croatian in 1912. The author was an Austrian collector Natalie Bruck Auffenberg, who was travelling across Dalmatia, and collecting many things on the spot. The concept of Dalmatian folk art was established at the beginning of the 20th century under the protectorate of the Archduchess Maria Josepha. It was a part of Austro-Hungarian official interpretation of history and culture with the united Monarchy as the central idea. The folk art was understood as an archaic form of great art, in accordance with aesthetic ideals of the middleclass. It was evaluated as a primitive artistic expression without great influences of the western art, so it corresponded with some Secession tendencies. These Central European influences contributed to processes of cultural modernization in Dalmatia. The local intellectuals became aware of the significance of the traditional culture and began to protect folk art as national treasure. These ideas were dominant in the activities of the Architectural, Arts and Crafts School (Graditeljska, zanatlijska i umjetnička škola) and the Regional Museum of Folk Arts and Crafts (Pokrajinski muzej za narodni obrt i umjetnost) in Split. Kamilo Tončić, who graduated from Technical College in Vienna, was the founder of both institutions. The leading functions of the new institutions in Split were artistic education and conservation of folk art as well as linking up with the rising tourism. So, the recognition of the folk artistic expression in Dalmatia reached a peak in the period before the First World War

Traditional Roots In The Sculpture Of Petar Smajić

U radu se ukazuje na dodirne točke između nekoliko odabranih skulptura Petra Smajića (Dolac Donji 25.05.1910. – Ernestinovo 19.08.1985.) iz njegovog „dalmatinskog razdoblja“ od 1932.-1941. godine i nekih primjera tradicijskog drvorezbarstva iz unutrašnjosti Dalmacije koji se nalaze u zbirci glazbala Etnografskog muzeja Split. Njihove tematske i morfološke sličnosti ukazuju na snažne tradicijske korijene u Smajićevom kiparstvu koji su bili osnova za nadogradnju vlastitog likovnog izraza, što upućuje na potrebu poznavanja tradicijskog drvorezbarstva pri valorizaciji njegova stvaralaštva. Također se ukazuje na različita shvaćanja folklorne komponente u Smajićevom opusu.Some works of the naïve sculptor Petar Smajić (1910-1985) are compared with the selected examples of the traditional woodcarving of his wider native area. The morphological and thematic similarities have been noticed in the comparison of some of his works which belong to the so-called Dalmatian period from 1932 till 1941 and the works of the anonymous woodcarvers from the Dalmatian hinterland from the late 19th and early 20 th century, which are kept in the holdings of the Split Ethnographic Museum. The analysed works are: Smajić’s The Gusle with the Decoration Representing Man on Horseback (1932), The Cavalry Pyramid/Horseman (1933), The Horseman/Peasant on Horseback (1933) and The Head of Peasant Woman (around 1933) and the works of anonymous authors who formed the human figure (horseman, narrator), the figure of the horse on the top of the neck of the gusle (stringed instrument with a bow) and the human face on the traditional flute (diple). The observations confirm that Smajić began with traditional woodcarving which was deeply rooted in his work and raise the possibility of monitoring his artistic development from the collective to individual style. It is assumed that better knowledge of the art traditions of the native area could contribute to the valorization of the creativity of the other authors of Croatian Naïve Art