The Image of Zagreb as a Second Metropolis within Yugoslavia

Raziskava odpira pogled na dinamiko urbanega razvoja Zagreba kot metropole v socialistični dobi, kakor se kaže na izbranem široko dostopnem (v veliki meri turistično obeleženem) likovnem materialu, kot so razglednice in značke. Z analizo motivov, ki se v tovrstnem materialu pojavljajo kot najbolj reprezentativne podobe Zagreba v določenih obdobjih, študija razkriva ideološke vidike, ki se skrivajo tako v izboru motivov kot v njihovi predstavitvi. V zgodnjem povojnem obdobju sta bila v Zagrebu realizirana dva velika urbanistična projekta: Ulica grada Vukovara, reprezentativni center pomembnih vladnih, administrativnih in kulturniških stavb, ter razstaviščni kompleks Zagrebškega velesejma, s katerim je bil storjen radikalen korak v širitvi mesta v južni smeri in izgradnji Novega Zagreba na desnem bregu Save. Ta dva revolucionarna projekta sta morala funkcionirati v okviru aktualnega političnega diskurza, hkrati pa je bilo potrebno sprejetje s strani najširše družbene sfere – delavskega razreda. Abstraktna arhitekturna govorica modernizma je bila za večji del te družbene sfere (ki je bila do nedavnega pretežno ruralnega značaja) težko sprejemljiva. Manjši del prebivalstva je imel drugačno socialno poreklo – to so bili meščani, ki so živeli v starem mestnem jedru. To je zanje predstavljalo »pravi« Zagreb, zato so bili do novonastalih urbanističnih projektov zadržani iz drugačnega razloga. Naloga široko zastavljene medijske kampanje je bila torej nove podobe Zagreba približati obema skupinama in vzpodbuditi proces prepoznavanja novih urbanističnih projektov kot njunega mesta – spodbujati identifikacijo prebivalcev s konceptom mesta, ki je vpeto v sodobne urbanistične tokove. Da bi uspešno implementirali nove simbolične podobe Zagreba v družbeno zavest meščanov, so njihovi snovalci uporabili preizkušene mehanizme medijske propagande. Prizadevali so si, da bi postale čim bolj vidne tudi za tiste, ki ne živijo v njihovi bližini. Hkrati so jih premišljeno povezovali z mestnimi znamenitostmi, ki so že bile vsesplošno sprejete kot ikonične, in to z namenom povzdigniti jih na isto raven oziroma jim dodeliti enako simbolično vrednost. Rezultat je bil indikativen izbor urbanih vedut, s katerimi so poskušali vizualizirati idejo Zagreba kot prestolnice ene od republik SFRJ – Zagreb, ki je urbano središče s pomembnimi spomeniki iz različnih zgodovinskih obdobij, od srednjega veka do najnovejše dobe, hkrati pa napredno evropsko mesto, ki v polni meri sledi sodobnim trendom arhitekturnega in urbanističnega razvoja. Z natančnim sledenjem upodobitev Zagreba na razglednicah in značkah v času socializma se vzpostavi zemljevid, ki jasno razkriva prioritete splošnega urbanističnega razvoja tako v velikem merilu kot v posameznih detajlih: od celih mestnih četrti, kot sta Zagrebški velesejem in Novi Zagreb, do enako indikativnih posamičnih interpolacij, kot sta stavba Ferimporta in nebotičnik na Ilici. Vsi ti projekti so imeli izjemno velik vpliv na družbeno okolje, saj so vnesli nova funkcionalna in estetska merila, obenem pa posredovali ideološke, politične in kulturne vrednote. Njihovo razširjanje v obliki razglednic in značk je funkcioniralo kot oblika tihe, vendar uspešne propagande nove vizualne in idejne podobe Zagreba kot metropole, ki zavestno gradi lastno identiteto

Friendly Antagonism in Humorous Interactions: Explorations of Prosocial Teasing

Despite research and theory noting the aggressive and destructive applications of teasing, few studies have investigated its positive uses. The present research explores the use of prosocial teasing , a positively-intended form of teasing which relies on the playful use of seemingly negative remarks (e.g., You’re an idiot ), which are incongruent with the established relationship, and aim to indirectly and ironically express positive relational messages to others (e.g., I accept you ). The goals of the present research are to (1) present a theoretical model of prosocial teasing, (2) construct and validate a self-report measure of prosocial teasing behaviour [i.e., Prosocial Teasing Questionnaire (PTQ)], (3) determine which individual difference variables predict prosocial teasing, and (4) investigate the potential associations between prosocial teasing and interpersonal relationships. A total of 735 university students, across 3 separate samples, completed the PTQ along with questionnaires assessing variables related to humor, personality, psychological well-being, and interpersonal relationships. Friends and family members of participants (i.e., “informants”) were invited to complete an online questionnaire rating the participants’ teasing styles and the quality of their relationship with them. The PTQ yielded a coefficient alpha of .89 and demonstrated convergent validity through a number of positive correlations with humour (e.g., sarcasm, playfulness) and broad personality variables (e.g., agreeableness). The results suggest that prosocial teasers tend to be narcissistic, interpersonally manipulative, emotionally callous, sensation-seeking, risk-taking, and controlling when resolving interpersonal conflict. The data also indicate that prosocial teasing may be used to indirectly communicate negative emotions and beliefs. Interpersonally, the findings suggest that prosocial teasing may be used as a compensatory strategy among those with a variety of interpersonal deficits and may be more adaptive for males. Finally, while self-reported prosocial teasing was positively associated with self-reported relationship quality, informant ratings of prosocial teasing and relationship satisfaction were negatively related. Possible explanations for these findings and its implications for prosocial teasing and future research are discussed. Overall, these findings also provide evidence for the validity of the PTQ to support its use as a tool to further understand the role of teasing in relationships

An Architecture for Information Commerce Systems

The increasing use of the Internet in business and commerce has created a number of new business opportunities and the need for supporting models and platforms. One of these opportunities is information commerce (i-commerce), a special case of ecommerce focused on the purchase and sale of information as a commodity. In this paper we present an architecture for i-commerce systems using OPELIX (Open Personalized Electronic Information Commerce System) [11] as an example. OPELIX provides an open information commerce platform that enables enterprises to produce, sell, deliver, and manage information products and related services over the Internet. We focus on the notion of information marketplace, a virtual location that enables i-commerce, describe the business and domain model for an information marketplace, and discuss the role of intermediaries in this environment. The domain model is used as the basis for the software architecture of the OPELIX system. We discuss the characteristics of the OPELIX architecture and compare our approach to related work in the field

An application of a genetic algorithm for throughput optimization in non-broadcast WDM optical networks with regular topologies

We apply a genetic algorithm from Podnar and Skorin-Kapov [5] to a virtual topology design of a Wide-Area WDM Optical Network with regular topologies. Based on a given physical topology a virtual topology consisting of optical lightpaths is constructed. The objective is to minimize the maximal throughput, which implies balancing link loads and accommodating on-growing traffic requirements in a timely fashion. The genetic algorithm is applied to benchmark instances of regular topologies

New data on the taxonomic status and distribution of Gambusia sp. in Croatia and Bosnia and Herzegovina

Background and Purpose: In the early 20th century, two native North American poeciliid species Gambusia holbrooki and Gambusia affinis were introduced to Europe as a mosquito control agent. The first introduction to Istria from Italy in 1924 was followed by several independent introductions and massive translocations. Presently, the distribution of these two species in Croatia and Bosnia and Herzegovina (Bosnia and Herzegovina) is still largely unknown and they are often confused. The purpose of this study was to determine the taxonomic status of individual Gambusia populations and to shed more light on the distribution and phylogeographic patterns of these invasive species in Croatia and Bosnia and Herzegovina. Materials and Methods: All new and literature data were plotted together to obtain the overall distribution of Gambusia sp. in Croatia and Bosnia and Herzegovina. The samples collected across this range were analysed meristically and by means of mitochondrial cytochrome b (cytb) gene sequence analysis to ascertain the true taxonomic status of the populations. For phylogeographic analysis, the cytb sequences from this study were combined with previously published data. Results and Conclusions: The methods only confirmed the presence of G. holbrooki. G. holbrooki is continuously distributed across the entire Mediterranean biogeographical region in Croatia and Bosnia and Herzegovina. Two different mitochondrial cytb haplotypes were found: the widely spread Hol1 haplotype and haplotype Hol5 that in Europe was previously found only in France and Greece. This suggests that G. holbrooki populations in the region originated from different stocks

Misticizam u tekstu i slici, nekad i sad

Recenzija, prikaz zbornika "IKON 6. Vizije", zbornika Šestog međunarodnog znanstvenog skupa Ikonografskih studija, Rijeka, 2013

Comparative Analysis of the Fascist and Ustasha Movement 1929-1939

Nakon Prvog svjetskog rata Italija je ostala razočarana jer nije dobila teritorije koji su joj obećani Londonskim ugovorom. Velika društvena, gospodarska i politička kriza uzrokovala je jačanje populističkih pokreta pa tako i fašizma koji nastaje početkom dvadesetih godina 20. stoljeća. Fašisti, na čelu s Benitom Mussolinijem, željeli su proširiti Italiju na razinu nekadašnjeg Rimskog Carstva što bi podrazumijevalo prevlast nad Sredozemljem. Vješto su iskoristili neuspjeh demokracije i optužili demokrate za loše stanje u zemlji te demagogijom osvajali velik broj ljudi. Insceniranim državnim udarom zvanim „Marš na Rim“ fašisti su naposlijetku došli na vlast, no prvenstveno zbog toga što je kralj Viktor Emanuel II. predao mandat za sastav vlade Mussoliniju. Uskoro nakon dolaska fašista na vlast, u Italiji započinje fašizacija zemlje pa država naposlijetku postaje totalitarna. Ustaški pokret nastao je u razdoblju od 1929. do 1932. godine. Još 1929. ustaše se sastaju s makedonskim istomišljenicima i dogovaraju suradnju, a zajednički interes im je razbijanje Kraljevine Jugoslavije i uspostava nacionalnih država. Najpotpuniji dokument pokreta su „Načela“ donesena početkom lipnja 1933. u kojem su donesene programske odrednice. Ustaški pokret predvodio je Ante Pavelić, a idejnim začetnikom smatrali su Antu Starčevića, utemeljitelja Stranke prava. Ustaše su se koristili terorističkim metodama u svom djelovanju, a najveći atentat organizirali su, uz pomoć talijanskih i mađarskih vlasti te makedonskih revolucionara, 1934. kada je ubijen jugoslavenski kralj Aleksandar I. Karađorđević. Suradnja fašista i ustaša započeta je od samih početaka nastajanja ustaškog pokreta. S tim u vezi važan je dokument „Promemorija“ kojeg je Pavelić predao članu Velikog fašističkog vijeća. Time je dogovorena financijska pomoć Italije pri obuci ustaša u logorima, a Hrvati bi pristali ući u političku sferu Italije. Osnovani su brojni logori za obuku uglavnom u Italiji i Mađarskoj. Nijemci su Italiju smatrali inicijatorom povijesnih promjena na Sredozemlju tako da ustaški pokret nisu smatrali ozbiljnim čimbenikom u politici. To je naročito vidljivo krajem tridesetih godina kada održavaju dobre odnose s Jugoslavijom. Oba pokreta bila su militaristička. Fašisti su kao zapovjednike svojih četa imali rasove, a kasnije su to preuzele i ustaše. Revolucionarnu aktivnost fašisti su prikazivali „Maršem na Rim“ dok su ustaše terorizam kao metodu političkog djelovanja preuzele od makedonskih revolucionara (VMRO). Oba pokreta nisu imala jedinstven program, nego spoj različitih programskih odrednica. To je bilo posebno vidljivo kod fašizma koji je bio izrazito pragmatičan. Poveznice među pokretima vidljive su i u hijerarhijskom sustavu (Veliko fašističko vijeće - Glavni ustaški stan, Duce-Pavelić), a i korištenjem sličnih parola

Drugi val feminizma i njegov utjecaj na filmsku umjetnost-prezentacija i analiza ženskih likova u hrvatskoj filmskoj umjetnosti

Drugi se val feminizma pojavio 1960-tih godina s ciljem postizanja ženske emancipacije kroz brisanje duboko ukorijenjenih rodnih neravnopravnosti u društvu koje su svoj korijen imale u patrijarhalnom društvenom uređenju. Pokret je na svom vrhuncu 1970-godina u svoju interesnu sferu uključio i popularnu kulturu, a s njom i jedan od najvažnijih medija-film. S obzirom na promidžbenu sposobnost filmske industrije te s tim i moći koju film posjeduje, jasno je da se interes predstavnica Drugog vala feminizma okrenuo upravo tom mediju. Feminističke teoretičarke počele su propitivati ulogu filmske industrije u održavanju dominacije patrijarhata i uvriježenih društvenih vrijednosti i normi koje konstruiraju rodne uloge, rodne stereotipe te odnose u društvu. U skladu s tim razvila se feministička filmska teorija koja je kroz analizu filmskog materijala ukazala na važnost filmske umjetnosti pri analizi rodnih istraživanja. Spajanje dvije teorije pokazao se kao koristan spoj koji ne samo da upozorava na činjenicu da je film jedan od medija koji proklamira i održava patrijarhalno stanje svijesti, nego može poslužiti kao medij u kreiranju instrumenata koji omogućuju širenje feminističkih ideja s cilju rodne jednakosti u društvu. U skladu s tim cilj rada je prikazati koliko su osnovne teorijske koncepcije i pitanja koja su otvorile predstavnice Drugog vala feminizma aktualna i danas i kako se odražavaju u hrvatskoj filmskoj umjetnosti u vidu razotkrivanja patrijarhalnog utjecaja na filmsku formu te formiranja ženskih filmskih uloga, ali i ženskih tema koje utječu na gledalačku percepciju filma. Rad je podijeljen na teorijski dio i istraživački. U teorijskom dijelu iznesene su neke od glavnih teorijskih koncepcija nekih od najznačajnijih predstavnica Drugog vala feminizma, te temeljni koncepti nekih od feminističkih teoretičarki. Svrha takvog koncepta jest pokazati koja su se glavna pitanja feminističkih teoretičarki proširila na filmsku teoriju, te se na taj način trajno zadržale u analizama rodne ravnopravnosti. Istraživački dio rada bavi se analizom i prezentacijom ženskih likova prema odabranim elementima analize koji se vežu uz temeljna teorijska pitanja Drugog vala feminizma u odabranom filmskom materijalu koji obuhvaća vremenski period između 1970. i 2010. godine, unutar kojega je analiziran 21 filmski naslov. Analiza odabranih filmskih materijala pokazala je da iako su pitanja o ženskoj ravnopravnosti, ali i ženska perspektiva potaknuta Drugim valom feminizma u hrvatskoj kinematografiji aktualna kroz čitavo vremensko razdoblje analize, elementi patrijarhalnosti i muške dominacije ipak prevladavaju u većini filmova.The Second Wave of Feminism emerged in the 1960s with the aim of achieving female emancipation through the eradication of deeply rooted gender inequality in a society that had its roots in patriarchal social order. At its peak in the 1970s, the movement included a popular culture in its own sphere of interest, and with it and one of the most important media films. With regard to the advertising ability of the film industry and the power it possesses, it is clear that the interest of the second wave of feminism has turned this media. Feminist theorists began to wonder about the role of the film industry in maintaining the domination of patriarchy and the established social values and norms that construct gender roles, gender stereotypes in society. Accordingly, a feminist film theory developed which, through the analysis of film material, pointed to the importance of film art in the analysis of gender research. Joining the two theories proved to be a useful bond that not only warns of the fact that the film is one of the media that proclaims and maintains patriarchal state of consciousness but can serve as a medium in the creation of instruments that allow the spread of feminist ideas with the goal of gender equality in society. Accordingly, the aim of the paper is to demonstrate how fundamental theoretical concepts and questions that the representatives of the Second Wave of Feminism are present today and how they are reflected in Croatian film art in terms of revealing the patriarchal influence on the film form and the formation of female film roles, topics that affect watchful perception of the film. The paper is divided into theoretical part and research. In the theoretical part, some of the major theoretical concepts of some of the most significant representatives of the Second Wave of Feminism and some of the fundamental concepts of some feminist theoreticians are presented. The purpose of such a concept is to show what the main issues of feminist theoreticians have spread to film theory and thus remain permanently in gender equality analyzes. The research part deals with the analysis and presentation of female characters according to selected elements of analysis that are linked to the fundamental theoretical issues of the Second Wave of Feminism in selected film material covering the period between 1970 and 2010, in which 21 film titles were analyzed. The analysis of selected film materials showed that although questions of women's equality and women's perspectives have been sparked by the Second Wave of Feminism in Croatian cinematography throughout the entire time period of analysis, the elements of patriarchality and male dominance prevail in most films