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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Knego, Paula;

    Through typological and stylistic analysis of late medieval and postmedieval pottery sherds from the archeological site of Benedictine monastery of St. Mary on Lokrum island, this thesis gives an insight into one specific part of archeological heritage of this monastery – pottery, which has so far been neglected. The first part of the paper deals with the history of this monastery and Lokrum island, after which the history of archeological research is presented. The next part describes the main types of pottery present in this paper and the process of their production, ie the process of production of late medieval and postmedieval glazed dishes. The last part of the paper deals with the analysis of selected ceramic material, in which an attempt was made to determine the time and place of production of individual fragments, which are presented in the catalog. The aim of this paper is to contribute to the knowledge of the history of the monastery on Lokrum and the knowledge of late medieval and early postmedieval pottery in the area of Dubrovnik and Croatia. Tipološkom i stilskom analizom ulomaka srednjovjekovne i novovjekovne glazirane stolne keramike s lokaliteta benediktinski samostan sv. Marije na Lokrumu, ovaj diplomski rad donosi uvid u jedan specifični aspekt arheološke baštine ovog samostana - keramičku građu, koji je dosad zanemarivan. Prvi dio rada bavi se povijesti ovog samostana i Lokruma, nakon čega je prezentirana povijest istraživanja. Sljedeći dio opisuje glavne vrste keramike prisutne u ovom radu te proces njihove proizvodnje, odnosno proces proizvodnje kasnosrednjovjekovnog i novovjekovnog glaziranog posuđa. Posljednji dio rada bavi se analizom odabrane keramičke građe, u kojoj se pokušalo odrediti vrijeme i mjesto proizvodnje pojedinih ulomaka, koji su prezentirani u katalogu. Cilj je rada dati doprinos poznavanju povijesti samostana na Lokrumu te poznavanju kasnosrednjovjekovne i ranonovovjekovne keramike na području Dubrovnika i Hrvatske.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Nikšić, Petra;

    The lack of a large amount of pottery sherds dating from the 1st to the middle of the 3rd century at the site of Our Lady of the Mountain indicates that the population did not live there permanently during that period. After the establishment of peace and the organization of the Roman administrative authority, the population no longer needed to live on the hilltop and moved to the valley where a settlement with a necropolis was organized. It is not possible to give a precise answer to the question about the function of the hilltop site after the population moved to the valley. The first possibility is that part of the population still remained on the hilltop and lived there in a small, rural settlement of wooden houses, of which almost nothing has been preserved, except perhaps a few post holes that were not destroyed by medieval and modern graves. If, however, the population of the hilltop had completely abandoned their residence there, the possibility of retaining a cult place there remains. There is no evidence that the Late La Tène or perhaps Early Roman building beside the Early Christian complex was used for housing, as no significant amount of pottery was found there. More specifically, regarding the Romanization period, no large amount of pottery was found that could confirm that the hilltop was used as a settlement. Nevertheless, the pottery that has been found and can be dated to that period belongs to fine pots that may not be the pinnacle of Roman pottery, but for a settlement geographically isolated and therefore less connected to the rest of the Romanized part of the Noric-Pannonian border area, those finds are quite significant, even in the fragmented state in which they are. Fragments of thin-walled pottery, slipware, so-called eggshell ware and face pots belong to this period. The complete absence of fragments of coarse pots of the Late La Tène period tradition with a surface combed with vertical, slanted or irregular strokes is also significant, and this situation may indicate that the hillfort was really only a cult area where offerings to pagan deities were brought in fine tableware. This could be confirmed by the face pot fragment that are sometimes associated with pre-Roman beliefs, as well as the positions where earlier Roman pottery was found. All fragments of thin-walled pottery, slipware, face pots, etc. were found in trenches around the present-day church and early Christian church complex, i.e. around a potential earlier pagan sanctuary. Of the coarser pots that can be attributed to the 1st and 2nd century, only very small fragments of a relatively fine fabric can be singled out with certainty, decorated with short strokes with a small comb that sometimes overlap. For the earlier Roman period in Lobor, the find of Trajan's sestertius is also significant, which, together with a bowl of thin-walled pottery of probably Siscian production, is one of the earliest finds at the site of Our Lady of the Mountain, although there is a possibility that it was in later use. If Trajan's coin from Lobor is indeed of a later date, the thin-walled pottery bowl is the earliest confirmed find of Roman pottery in Lobor. Although it is attributed to Siscian production, based on the discovery of one bowl, it cannot be claimed that the process of Romanization arrived from the south, especially since the Lobor area has been connected with the area northwest of it since at least the Late Bronze Age, if not earlier. As it seems according to the current state of research and the analysis of pottery, life returned to the hillfort to a greater extent in the second third or maybe even the second half of the 3rd century. It is possible that the return of the population to the hillfort did not take place during a shorter period, but the findings of pottery suggest that. The number of vessels that can be attributed to the time around the middle of the 3rd century is greater than the number of those dated to the 1st and 2nd century, and in addition, the distribution of fragments of this later ware is no longer concentrated around the present-day church, but extends to the northern plateau and the area along the northern rampart. There are several fragments of relief terrae sigillatae that can be attributed to the Rheinzabern workshops and dated to the second half of the 2nd or the first half of the 3rd century. The only fragment of a Faltenbecher type cup can be dated from the end of the 2nd to the third quarter of the 3rd century. In this later group of early Roman pottery, Pannonische Glanztonware fragments are the most numerous. Although the sherds were not found in a closed context, based on analogies they are dated from the first quarter of the 2nd to the end of the 3rd century. It is indicative that the group of tableware that is dated at the latest is also the most common of the earlier Roman pottery. The largest number of Roman coins found at the site of Our Lady of the Mountain in Lobor can be dated from the middle of the 3rd century onwards. Those include all Roman coins except for the aforementioned Trajan's sestertius and the perforated sestertius of Maximinus I of Thrace, which was obviously in secondary use in a later period. Taking into account the dating of the coins and the group of pottery that appeared in the middle or second half of the 3rd century and whose quantity also increased significantly after that period, primarily glazed pottery, it can be determined with considerable certainty that life returned to the late La Tène hillfort immediately after the middle of the 3rd century and that the Late Antique hilltop settlement in Lobor was established. It is not excluded that the refugial character of the position of the Lobor hillfort was used earlier, perhaps during the Marcomannic Wars, but there is no evidence for this so far. A large amount of tableware cannot be attributed to that time, and certain types, such as unglazed mortars, are completely missing. In addition, there are no finds of Roman coins or other objects that can certainly be attributed to that time and interpreted in favor of a shorter settlement during the uncertain times of the second half of the 2nd century. The significant increase in the amount of pottery and the presence of almost all groups of pottery from the middle of the 3rd century, which are facts that indicate the permanent character of the hilltop settlement in Late Antiquity, could be connected with the turbulent times of the so-called crisis of the 3rd century. The beginning of that crisis period can be connected to the latest dated fragments of tombstones found as spolia at the site of Our Lady of the Mountain, as well as the stelae of Marcus Cocceius Superianus and Valerius Lucilianus found in the center of today's Lobor. It seems that since that time, the deceased are no longer buried in the necropolis of the lower settlement in Lobor, but in a so far unknown location, probably closer to the hilltop settlement, and later next to the early Christian complex in the center of the hilltop settlement. The discovery of graves on the artificially formed elevation north of the shrine of Our Lady of the Mountain did not result in a sufficient amount of pottery fragments that could confirm the position as a Late Antique cemetery, despite the discovery of one bone comb and the foot of a glass cup. The number of pottery fragments is negligible and there are no diagnostic sherds. As it seems so far, the abandonment of the permanent settlement in the valley along the Rieka stream and the establishment of the hilltop settlement was probably not only connected with the threats to the Roman population from the barbarian groups from the other side of the Danube, but also with the general state of insecurity during a greater part of the 3rd century. Late Antique glazed pottery marks the period from the second half of the 3rd to the middle or second half of the 5th century. Although it represents only 2.57% of the Late Antique pottery sherds, which is not an unusual number for sites far from the major workshop centers on the Danube or in northern Italy, glazed pottery represents a group in which almost all basic types and methods of decoration are represented. The bowls, plates, cups, bowls with handles and jugs belong mostly to tableware and mortars to kitchenware. Decorative motifs include grooved single and combed horizontal lines, single and combed undulations, small triangular, rectangular and irregular motifs made by rouletting, notches and oval motifs made with a sharp or rounded object on the rim, notches made using the chattering technique, stamped concentric circles, modeled wavy rim, and sometimes there are combinations of two decorative motifs. The decoration was sometimes carried out by painting with a red slip in the form of flames and flower petals, and the exteriors of several glazed bowls were decorated with burnished horizontal lines. Mortars decorated with slip painting and bowls with burnished horizontal lines, as well as related examples of glazed pottery with an intense olive green or yellow green glaze combined with red slip without a pattern should probably be dated earlier, to the second half of the 3rd and the first half of the 4th century, and glazed pottery of simpler forms, duller glaze and slip color if it was applied, and generally glazed pottery of poor glaze quality could be dated to the later period of the second half of the 4th and the first half of the 5th century. No examples of glazed pottery have been identified that could be could be dated only to the second half of the 5 th or even the 6th century, which is also a problem with other groups of Late Antique pottery from Lobor. Considering the theory about local workshops of glazed pottery, which has not yet been confirmed by field research, it was not possible to determine the workshop origin of the glazed pottery from Lobor, but based on the variety of fabrics, firing techniques, glaze and slip colors and methods of decoration, it is very likely that this glazed pottery originates from several workshops that were probably not located in the immediate vicinity of the hilltop settlement in Lobor. If such a workshop had existed nearby, the glazed pottery from Lobor would have been much more uniform, and there would have probably been fragments of tableware sets that have not been recorded so far. According to that and on the basis of analogies from the NoricPannonian border area, the origin of the glazed pottery from Lobor should be sought at the regional level in several workshop centers or smaller workshops. Unlike glazed pottery, slipware cannot be associated only with Late Antiquity, as is evident from the finds of thin-walled pottery, and rare examples remain almost until the end of late antique hilltop settlement and represent some of the latest late antique objects found in Lobor. In addition to thin-walled pottery, this group of pottery also includes terra sigillata, Pannonische Glanztonware, but also vessels of late antique forms with slip in shades of red and gray, which for the most part correspond to the forms of late antique glazed pottery. Simple oil lamps with a handle also appear in this group. Some of the reduction-fired jugs with a dark gray slip are similar in forms to jugs with burnished decoration and simple reduction-fired jugs without slip or processed surface. Considering the correlation of this group, most of the slipware, apart from the earlier groups of the 2nd and 3rd century, should be dated from the second half of the 3rd to the middle or second half of the 5th century. Here, the group of shallow bowls or deep plates that imitate North African red slipped pottery, specifically the form Hayes 61a and its variant Hayes 61a trans. Although the fabric, firing technique and slip quality are completely different, the orm of some examples is completely identical to North African examples and should be dated from the middle of the 4th to the middle of the 5th century. Although they do not represent original North African products, they appeared in the Noric-Pannonian at the height of North African import to the area in the 4th and 5th century and certainly belong to regional production, probably from the northern Italy that had the most contact with overseas areas such as North Africa and the Eastern Mediterranean. Original North African and Eastern Mediterranean ware was recorded only around the end of the 5th century. An undecorated fragment of an ARSW conical bowl of the Hayes 87 or 88 form and a fragment of a North African oil lamp of the Hayes II/Atlante X form decorated with triangle and palmette motifs, as well as an undecorated fragment of an Eastern Mediterranean LRC form Hayes 3E bowl were found in Lobor. The North African sherds can be dated to the end of the 5th or the beginning of the 6th century, and the Eastern Mediterranean to the last quarter of the 5th and the first quarter of the 6th century. Given the small number of fragments of Mediterranean pottery and the fact that earlier forms, which would belong to the period of more intensive import to the Noric-Pannonian area, were not found, so far it should be assumed that they were personal property that was probably brought to Lobor at the beginning of the 6 th century, and not objects of trade between the Mediterranean and the Lobor area. Perhaps their find in Lobor was connected to the relocation of part of the population from the territory of Poetovio, or it was even connected with the withdrawal of part of the population from Noricum Ripense. If this was indeed the case, it would confirm the gathering and refugial role of the fortified hilltop settlement in Lobor, which at the beginning of the 6th century was obviously an important church center where the early Christian complex with a church and a baptistery and possibly other churches was expanded and renovated. The assumption was that the hilltop settlement in Lobor certainly gathered the population of today’s Zlatar valley in unsafe periods, the population which usually lived on farms and settlements similar to the villa in Gornja Batina. The finds of imported Mediterranean tableware confirm that the settlement in Lobor also received residents of probably higher ranks from the threatened settlements of Noric-Pannonian border area. Although early Christian motifs, which are otherwise common, were not preserved on the mentioned imported pottery due to the high degree of fragmentation, it cannot be ruled out that the pottery was brought as part of the household of the Bishop of Poetovio, who is sometimes associated with the construction of the early Christian complex in Lobor, and perhaps with his stay in to an unexplored building on the south side of the site of Our Lady of the Mountain. As for the later forms of imported Mediterranean pottery, they have not been found in Lobor so far, so the question about the end of life in the hilltop settlement cannot be answered solely on the basis of pottery finds. Burnished pottery and pottery with burnished decoration from Lobor belong to the 4th and 5th centuries. A smaller part of that group of pottery belongs to open-shaped vessels, mostly bowls, decorated exclusively with polished horizontal lines, often on both sides of the vessel, for which the closest analogies were found in the Danube area of the eastern Noricum Ripense. Based on these analogies, the dating of the Lobor specimens of this group is placed from the middle of the 4th to the middle of the 5th century. Another group of the pottery with burnished decoration can be connected with the Pannonian part of the Danube limes, where three groups appear based on technological, typological and decorative characteristics. By analyzing these characteristics, the examples from Lobor were placed in the first two groups and dated from the middle to the end of the 4th century in the case of the first group and to the last quarter of the 4th and the beginning of the 5th century in the case of the second group. No fragments were found that could be attributed to the third group. It is possible that, due to the distance from the Danube, the immediate danger and the influence of barbarian groups, with the presence of which the appearance and popularity of this group of pottery is at least partially connected, the dating of the pottery with burnished decoration from Lobor should be extended and that at least until the end of the 5th in the workshops from which this pottery was procured for the hilltop settlement in Lobor, the proven production technology known from older potters was used. It is certain that one cannot expect exactly the same fabrics as in the workshops on the Danube or other larger production centers in Pannonia, and the situation is similar as with glazed pottery and slipware. The variety of fabrics and firing techniques points to several workshops from which the population of Lobor procured pottery of this group. What is perhaps surprising about this group, which is linked to the influence of barbarian groups, is that in Lobor it was not found in combination with stamped pottery. Not a single fragment with stamped decoration typical for the 6th century has been found so far. According to the current state of research, this should mean that the Lobor area was not under the direct influence of the Lombards, although it is sometimes placed on the eastern edge of the so-called Pólis Norikón. Based on the absence of stamped pottery, it is not possible to determine whether this means that in the middle of the 6th century the hilltop settlement in Lobor was already abandoned or at least that the number of inhabitants was significantly reduced, or whether this only happened in the last quarter of the 6 th century, to which the burned layers in the baptistery and on the late antique rampart were dated. There are only a few items from Lobor that can be dated to the period between the latest dated form of pottery and the date of the burned layer. These are objects from grave 50 and a buckle part from a destroyed grave that can be dated to the first half of the 6th century and an S-fibula of the Várpalota-Vinkovci type dated to the second third of the 6th century. They may also be joined by fragments of imported Mediterranean vessels if they were really transferred from another settlement and remained in use for a longer time. The least amount of information about the late antique community in Lobor was provided by reduction- and oxidation-fired fine pottery. The types are related to those of the groups of glazed pottery, slipware and pottery with burnished decoration. Reduction-fired fine pottery is typologically more closely related to the pottery with burnished decoration, and oxidation-fired fine pottery to glazed pottery and slipware. This group includes interesting and rare examples of stamped pottery, which differ from the 6th century stamped pottery according to their fabrics and decorative motifs and clearly belong to an earlier time. There are two fragments of oxidation-fired jugs or pots with stamped concentric circles, which are a typical late antique motif, while another example is decorated in a more complicated way. It is a fragment of an oxidation-reduction fired vessel of large dimensions, which was decorated on the outside with a combination of a stamped rosette, arc motifs made by double rouletting and an applied twisted band. An analogy for this last example should probably be sought in the area of western Noricum Mediterraneum, but in the group of coarse pottery, which in that area is generally more elaborately decorated. Although one of the assumptions was that the final phase of life in the hilltop settlement in Lobor could be explained using the results of the analysis of coarse pottery, it shows that simple, long-lasting forms of pots, jugs, bowls and plates dominate, and of which no type can be exclusively dated to the second half of the 6th century. Pots with extended rims are by far the most common. The problem with dating and finding analogies is also represented by the fact that a large part of these pots and other vessels is undecorated. Decorated examples are dominated by simple decoration with grooved single and combed horizontal lines and single and combed wavy lines, and other decorative motifs are much less common. Another group of pottery that has not yet been found in Lobor, and is connected to groups of coarse pottery, is the so-called non-Roman pottery. These are biconical pots and deep bowls that are often decorated with wavy lines, and are known from the hilltop settlements of the Noric-Pannonian area. This pottery is also associated with the presence of Lombards in Noricum, so its absence in the hilltop settlement in Lobor is only a confirmation that there was no Lombard influence, at least as far as the production or distribution of pottery is concerned. In view of the found pottery with burnished decoration and typical late antique coarse vessels, one can only speculate about the probably indirect influence of barbarian groups, primarily Goths, from the end of the 4 th century. As for the spatial organization of the settlement based on the comparison of architectural remains and clusters of pottery sherds determined by means of quantitative analysis and calculation of the density of the number of sherds per square meter, it was determined that in Late Antiquity there was still a residential part of the settlement on the northern plateau and on the western plateau at least along the northern rampart. It seems that the Late La Tène earthen rampart on which the late antique wall was built provided sufficient protection from the strong northern wind. Based on the findings of terra sigillata, it can be assumed that the part of the plateau next to the northern rampart was already inhabited in the middle of the 3rd century, and considering the finds of a thin-walled ceramic bowl and an Eastern Mediterranean LRC bowl in the same area of the northern plateau outside of the enclosure wall, it can be assumed that buildings existed there even though they were not preserved. A ruin with Roman tegulae nearby could have belonged to that part of the settlement, where the third cluster of pottery sherds was recorded. As for the early Christian complex and the buildings in the immediate vicinity inside the enclosure wall, no late antique pottery sherds were found that could be attributed to the church inventory, but small remains of the building and the heating channel, which perished in a fire in the middle of the 5th century, were preserved partly located under the early Christian church. The majority of pottery finds in the so-called black layer can probably be associated with this building. The late antique ceramic vessels found in front of the facade of the present church should be connected to the wooden building west of the baptistery, which probably existed for some time together with the early Christian complex because it was bypassed by the drainage channel from the baptistery. The interpretation of the space inside the enclosure wall based on the pottery finds, which would indicate that those two buildings were equipped with a kitchen area, should still be taken with caution. This is the part of the site where the largest construction interventions were undertaken, as well as the most intensive burial of the deceased, and it is quite possible that the pottery finds come from disturbed layers and structures that were completely destroyed by later interventions, and all this especially considering the fact that inside the enclosure wall no significant clusters of pottery sherds were determined, neither in total nor by individual groups. Analyzes of traces of use show that in the hilltop settlement in Lobor, pottery was a valuable asset of the late antique population. The use of glazed mortars long after they were damaged and their original surface covered with grit and glaze was destroyed, as well as the repair of vessels of almost all groups (glazed, fine, rough), and not only the more luxurious products, prove that it was valuable enough and necessary to be used even after it has lost its original properties and quality. The recycling of pottery confirms that, after it’s use was really no longer possible, it was used as an additional resource in the settlement and was not completely discarded. In conclusion, it can be said that the fortified hilltop settlement in Lobor, founded as a permanent settlement around the middle of the 3rd century, according to the findings of late antique pottery, at least partially fits into the system of such settlements in the Noric-Pannonian border area. Despite the fortification, the ratio of pottery and other finds, especially those of a military nature, indicates that it was a civilian-type settlement that was transformed into a church center at the end of Late Antiquity. The representation of almost all groups of local, regional and imported late antique pottery confirms that the settlement was open to influences from other parts of the Roman Empire, especially from the north and west, despite the apparently isolated character of the settlement in Lobor, which was not located on important river or land routes and whose area was not mentioned in historical sources. In the middle of the 6th century, however, the settlement was closed against new influences, and the inhabitants probably practiced increasing self-sustainability and self-sufficiency in the last decades. An already abandoned settlement or a settlement with a significantly reduced number of inhabitants was burned according to analyzes around 580 AD, probably during the Avar-Slavic invasion. There are no more reliably dated pottery sherds from that time. Although the western parts of the Noric-Pannonian area saw the end of antiquity at the beginning of the 7th century, it seems that this end came a little earlier to the fortified hilltop settlement in Lobor. U doktorskom radu primarno je analizirano kasnoantičko keramičko posuđe s položaja Majka Božja Gorska i Pavlova pećina u Loboru. Ono je identificirano, klasificirano, katalogizirano i interpretirano u kontekstu njegovog nalaza unutar kasnoantičkog visinskog naselja i u svezi s njim. Osim kasnoantičkog, zabilježena je i manja količina ulomaka antičkog keramičkog posuđa koja dokazuje da taj položaj nije bio posve napušten ni tijekom razdoblja od 1. do 3. st. Unatoč tome, mnogo veća količina kasnoantičkog keramičkog posuđa od 3. do 6. st. potvrđuje da se revitalizacija kasnolatenske gradine, odnosno osnutak kasnoantičkog visinskog naselja u Loboru treba datirati nakon sredine 3. st. Najkasniji identificirani primjerci kasnoantičkog keramičkog posuđa mogu se datirati u prvu polovicu 6. st., a nisu pronađene posude koje bi se mogle sa sigurnošću datirati nakon toga vremena, unatoč tome što analize C14 pokazuju da je visinsko naselje spaljeno oko 580. god. Najveća količina ulomaka kasnoantičkog keramičkog posuđa može se datirati u 4. i prvu polovicu 5. st. Zabilježene su skupine uvoznog mediteranskog, regionalnog i lokalno proizvedenog keramičkog posuđa, a prema sadašnjem stanju istraživanja, nisu zabilježene skupine za koje bi se moglo sa sigurnošću tvrditi da su neromanskog podrijetla. Kasnoantičkom finom keramičkom posuđu pripisano je glazirano keramičko posuđe, posuđe s prevlakom, s uglačanim ukrasom i redukcijski i oksidacijski pečeno posuđe, a grubom sitnozrnato i krupnozrnato posuđe. Tipološko-kronološkom i kvantitativnom analizom ukupnog spektra kasnoantičkog keramičkog posuđa, kao i pojedinih skupina, daje se interpretacija prostornog uređenja visinskog naselja u Loboru, ali i dijela svakodnevnog života kasnoantičkog stanovništva noričko-panonskog graničnog područja, kojemu je pripadao loborski prostor, koji se odnosi na proizvodnju, distribuciju, korištenje i odbacivanje keramičkog posuđa.

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
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    Authors: Zlodi, Goran; Majer, Ivana; Biličić, Lucija;

    Browsing through topics in online catalogues is often the first step in the information-seeking process. Therefore, subject analysis and indexing are vitally important and also closely connected to the subject access to information. The aim of this paper is to analyse and compare the subject terms from different knowledge organization systems, used for subject retrieval in online catalogues of museums and cultural heritage institutions, in order to better understand and improve browsing interfaces. Preliminary research and mapping will be conducted on subject terms collected from three sources: (1) the Art UK platform, (2) the Tate's website, and (3) the Art & Architecture Thesaurus. The mapping between the previously mentioned subject vocabularies resulted in the identification of various levels of matching. Based on the analysis and interpretation of mapping results, a few suggestions, aimed at ensuring the functionality and convenience of browsing in the context of online catalogues of collections held in museums and heritage institutions, are offered.

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    Authors: Radolović, Karla;

    Cultural tourism is a form of tourism in which tourists visit a destination partially or fully motivated by historical heritage, art or lifestyle. The goal of cultural tourism destinations is the development of sustainable tourism. The city of Pula has a rich archaeological heritage and rich foundations for the development of quality cultural tourism. Certainly the most famous is the Amphitheater, where most events take place. The archaeological heritage gives the city an authentic image and a unique offer in tourism, as well as the possibility of long-term development of cultural tourism. Awareness of the protection of archaeological heritage brings an increasing development of archaeological tourism, which is used to educate the local population and tourists. Archaeological tourism also contributes to the development of the city and its infrastructure, and it also helps the local population, for whom it is one of the sources of income. The most famous events that the city offers to tourists and local residents are the Pula Film Festival, Days of Antiquity and Specracvla Antiqva, which attract many visitors. The tourist offer also includes mobile applications whose goal is to guide the visitor through the city in an interactive way. Kulturni turizam oblik je turizma u kojem turisti posjećuju destinaciju djelomično ili u potpunosti motivirani povijesnim nasljeđem, umjetnošću ili stilom života. Cilj kulturno turističkih destinacija je razvoj održivog turizma. Grad Pula ima bogatu arheološku baštinu i bogate temelje za razvoj kvalitetnog kulturnog turizma, a najpoznatiji je Amfiteatar koji je iznimno posjećen kao objekt i u kojemu se događa najveći broj manifestacija. Arheološka baština gradu daje autentičnu sliku i jedinstvenu ponudu u turizmu, te mogućnost dugoročnog razvoja kulturnog turizma. Svijest o zaštiti arheološke baštine donosi sve veći razvoj arheološkog turizma pomoću kojeg se radi na edukaciji lokalnog stanovništva i turista. Arheološki turizam također pridonosi razvoju grada i gradske infrastruktire, a pomaže i lokalnom stanovništvu kojemu je to jedan od izvora prihoda. Najpoznatije manifestacije koje grad nudi turistima i lokalnom stanovništvu su Pulski filmski festival, Dani antike i Specracvla antiqva koji privlače brojne posjetitelje. U turističkoj ponudi se nalaze i mobilne aplikacije čiji je cilj na interaktivan način provesti posjetitelja kroz grad.

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    Authors: Mateljak, Lea;

    Since ancient times libraries have been important cultural, social and information centers. Because of the value they contribute to society, the loss of libraries is a big loss for the communities in which they are located, but also for culture in general. Because of this, they are often targeted in wars because this is used for erasing history of a nation. Based on numerous literature, in this paper it will be examined why libraries are destroyed. An overview of the libraries destroyed in the wars of the 20th and 21st centuries will be given. Examples from the Second World War, the Croatian War of Independence the War in Bosnia and Herzegovina, the War in Iraq and the War in Ukraine will be covered. Special emphasis will be placed on valuable libraries with the greatest losses, such as the National and University Library of Bosnia and Herzegovina and the National Library of Iraq. After the example of libraries, the existing UNESCO protections of libraries in case of armed conflicts will be discussed. Finally, the reasons why libraries are deliberately targeted in wars will be examined and whether there is an adequate solution for this problem. Knjižnice su od davnih vremena bitna kulturna, društvena i informacijska središta. Zbog vrijednosti kojima doprinose društvu, gubitak knjižnica vrlo je velika šteta za zajednice u kojima se nalaze, ali i za kulturu općenito. Baš zbog toga, vrlo su česta meta u ratovima jer se koriste za brisanje povijesti jednoga naroda. U ovom radu na temelju brojne literature sagledat će se zašto dolazi do uništavanja knjižnica. Dati će se pregled uništenih knjižnica u ratovima 20. i 21. stoljeća. Obradit će se primjeri iz Drugog svjetskog rata, Domovinskog rata, Rata u Bosni i Hercegovini, Rata u Iraku i Rata u Ukrajini. Poseban naglasak stavit će se na vrijedne knjižnice s najvećim gubitcima, poput Nacionalne i univerzitetske biblioteke Bosne i Hercegovine i Nacionalne knjižnice Iraka. Nakon primjera knjižnica obradit će se postojeće UNESCO-ve zaštite knjižnica u slučaju oružanih sukoba. Naposljetku će se sagledati razlozi zašto se knjižnice namjerno ciljaju u ratovima te postoji li adekvatno rješenje za taj problem.

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    Authors: Bajac, Petra;

    By approaching the phenomenon of structural ambiguity from two different perspectives – psycholinguistic and computational, this thesis shows how linguistic research can have practical applications in improving NLP systems. The analyses of specific sentences show breakdowns in processing, present the possible explanations for the reasons behind them through principles such as Minimal Attachment/Late closure and Lexical preference, and demonstrate the backtracking needed in order to achieve a full, successful parsing of ambiguous sentences. The types of sentences chosen for this thesis are called garden-path sentences, which induce a lot of difficulty in processing for both humans and machines, making them a perfect choice to demonstrate the similarities and differences between sentence processing in humans and machines. The research employs a combination of computational methods, both rule-based and statistical, and psycholinguistic hypotheses to explain the parsing process of garden-path sentences. The results show that in order for an NLP system to fully process highly ambiguous sentences such as these, it needs theoretical input to repair the partly parsed structures and successfully complete the parsing process. This implies a strong need for multidisciplinary research involving programmers, linguists, and cognitive scientists to succeed in emulating human intelligence in complex AI systems.

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    Authors: Vujanović, Barbara;

    Although for more than a century now the life and work of Ivan Meštrović (1883–1962) have been studied by numerous research scholars, both foreign and domestic, the classical component of his artistic work has never to date been interpreted, contextualised and brought together between the covers of a single work. In this research, this component has been identified formally and thematically in Meštrović’s sculpture, in his architecture, in the drawing, painting and printmaking that also constitute parts of his oeuvre, in his teaching at the Zagreb Academy of Fine Arts and in his writings about art. The classical component, which is considered to be one of the most important characteristics of the work of this artist and architect, is analysed in three main units, covering in terms of time the first two decades of the 20th century and the interwar and post-war phases. In the introductory part, after the chronological framework of the discussion of Meštrović’s art is established, the frame of reference for the concept of the classical component is addressed. It presumes the internalisation and reinterpretation of patterns of theme and composition from a number of periods of art history. Meant here are Antiquity (the period that extends from the appearance of writing in the 4th millennium BC, via the civilisations of Mesopotamia and Egypt down to the collapse of the Roman Empire), the Renaissance (in the oeuvre of Meštrović this mainly means invoking the art of Michelangelo Buonarroti) and the Neoclassicist period. Then the definition of terminology is addressed (archaism, the archaic and archaistic style, the influences of the Bronze Age and classicism as against Neoclassicism), as well as the determination of the chief comparative context, which is French modern sculpture. In addition, to reinforce the need for the study – in terms of the framework of the problem given – reference is made to recent domestic and international exhibition and publishing projects, and to texts in which modernism is redefined precisely in relation to the reinterpretation of the classical tradition. In the first two decades, the presence of classical elements is interpreted as one of the tendencies associated with the stylistic formations of Impressionism, Secession, Symbolism and Expressionism. Keeping up with references to classical culture can be discerned at the very beginnings of the artist’s engagement with sculpture, during the Vienna years (1900–1907), when Meštrović quite plainly advanced negative views about the tradition. In connection with the comparative context, the familiarity of Meštrović’s French critical fortune is expanded, that is, the reception of his participation at the most important exhibitions of the time in 1908 and 1909 (Salon d’Automne, Salon de la Société nationale des beaux-arts). The transition from rejection of the classical tradition to invocation of it, from the development of the lexis of (monumental) archaism to (monumental) neo-classicism is observed through a comparison with French sculptors, with Auguste Rodin, Antoine Bourdelle and Aristide Maillol, who had defined the relation of modern sculpture and Ancient and Renaissance art. Here Rodin’s invention of fragmentary sculpture and assemblage needs particularly to be picked out and attention drawn to the fact that Meštrović was the first Croatian sculptor to employ it. One result of the research into the problem was the introduction of the concept of utopian sculpture. It is derived from the conceptual and historical repercussions of the architecture of the sculpture of the Parthenon on European sculpture of the end of the 19th and the first half of the 20th century. The concept is interpreted with use of the St Vitus Day Temple (1908–1912) and, pursuant to the stylistic and ideological similarities, it is expanded to several other contemporary examples, mainly of Czech and French artists. The temple itself, and the Kosovo Cycle and the Prince Marko Cycle that belong to it, are described in detail and analysed in order to be able to distinguish the finer features of the appropriation of Ancient sculptural and architectural motifs, elements and symbolic meanings. The second decade of the last century was marked by the sculptor’s consideration of Ancient iconographic templates (Venera pudica) and motifs (women dancing) that enabled Meštrović to develop the theme of the female nude further. He also went on pondering the male nude in two directions – the archaic, heroic monumentalism (the monument Victor, Belgrade, 1913) and the anti-hero (for example, Pensive Youth, London, 1915). Subsequently in the thesis through all the periods and within all the units, there is a continued interpretation of reliefs and medals that prove to be particularly suitable for the depiction of the adoption of classical formal patterns, and for the reception of the then current stylistic tendencies (modernism). In the interwar Zagreb period (1922–1942), the classical component can be identified as the main determinant of the style, as the style itself, then (Neoclassicism). This stylistic tendency is perceptible in the monumental sculptural and architectural productions, which reflect the idea of power and stability, for which an ideal framework can be found in elements taken from Antiquity, the Renaissance and Neoclassicism. In the design of the nudes and works of religious topics, Meštrović often resorts to the repertoire of forms and themes that were established by Michelangelo. The focus of the research is on the importance of the sculptural workshop, its role in the transmission of knowledge, skills and the return to the sources of classical, Mediterranean culture. In the case of Meštrović, the problem of workshop is seen through the short-lasting workshops organised for the purpose of his monumental and architectural projects, then through the activity and formation of young sculptors in his studios, and through the organisation and reform of teaching at the Academy of Fine Arts in Zagreb, where he was president and professor. The characteristics of the phenomenon identified as “the return to order” correspond with the thesis of anti-modernism, which he programmatically formulated in essays about Michelangelo (Ivan Meštrović, “Michelangelo (an introduction to a study)” of 1926; Ivan Meštrović Conversations with Michelangelo, 2007; Ivan Meštrović, Michelangelo – essays of an artist about an artist, 2010) and embodied in his own works, which were supposed to be a model for the younger generation of artists and avert them from the destructive influences of the avant-garde. In these essays, he joined the string of French artists who in a similar way had engaged with the Italian sculptor (Rodin, Émile Bernard). It should be pointed out that antimodernism is not necessarily not-modern, that is, outside the currents of the time in which it came into being, which, among other things, is confirmed by Meštrović’s sensitivity to current artistic and political circumstances. In the context of Meštrović ’s reception of Michelangelo, it should be pointed out that in this thesis for the first time his long-lasting engagement with the theme of Moses (1915– 1952) and with portraits of Michelangelo, done in the media of sculpture and drawing is analysed and presented as a whole for the first time. In this part of the thesis, there is discussion of Meštrović’s monumental and architectural oeuvre, to which a particular quantitative impetus was imparted in the third and fourth decades of the century, during which Meštrović won his place as the main state sculptor of the Kingdom of the Serbs, Croats and Slovenes, later known as the Kingdom of Yugoslavia. Because of the closeness with political circles (with, for example, the Karađorđević and Masaryk families) and thanks to the success of his international exhibitions he had a large number of commissions for public sculpture in Croatia, other parts of Yugoslavia and in Europe, the USA and South America, Since these projects have been discussed in previous researches, the objective of the current investigation was to establish the typological development (the equestrian monument, for example, the motif of the winged goddess of victory, Nike) and his correlation with the classical tradition (for example, derivations of the architectural vocabulary of the ancient world, the variation of the ancient structure of temple and its adjustment to contemporary needs of a public and a personal purpose). Still, the dissertation includes some unknown facts and material related to the Speer Memorial of Denver, which was never brought to fruition (1934). The discussion is expanded to Croatian and European (Czech and Latvian) production of monuments, by the consideration of the influence of Meštrović’s public sculpture on the formation of the following generation of Croatian and Slovene sculptors (the defining of the Zagreb Sculpture School) and on the reception of Neoclassicism and monumentalism in the public sculpture of central and northern Europe. The last period of Meštrović’s life and work in Rome, Switzerland and the USA (1942– 1962) is seen as a recapitulation of the experience garnered up to that time. Stylistic derivations are recognised as mature Expressionism, realism and self-referential Neoclassicism. The latter inclination is a confirmation of the long duration of the classical tradition that is sketched out in the thematic stratum (mythology, religion) and in compositional self-referential and referential (Michelangelo, Rodin, Bourdelle) figurativeness. The interpretation is expanded to the phenomenon of eclecticism, that is, of the eclecticism of the pastiche, of eclectic monumentalism, which is attributed in this dissertation above all to his architectural designs (the Njegoš Mausoleum at Lovćen, 1924–1974) and to his sculptural productions in all periods. An eclectic approach to the tradition and to his own artistic past is the authentic expression of this artist. Accordingly, he is both polyvalent and complex (the opposition of modernism and anti-modernism) and is not comparable to other Croatian and European sculptors and architects. The thesis also introduces some little known (for instance, two sculptures on the topic of the slave of 1903) or completely unknown productions (for example, the drawing Source of Courage, 1906 (?) published in the journal Český svět in 1909). From the beginning of his career, from his days as a student in Vienna, right until the last, the American, period, it is possible to recognise and track, with complete clarity, the artist’s specific manner of referring to and reinterpreting classical (mythological, for example) subjects, as well as approaches to form and composition (for example, the different versions of the depiction of Aphrodite or Venus – Venera pudica, Aphrodite, Anadyomene and so on), from sources in Antiquity, which necessarily include not only Greek and Roman but also other ancient world traditions, as well as from the Renaissance and Neoclassicism. Hence this research too was oriented to the chronological coverage of stylistic appropriations of classical motifs, through all the phases of the artist’s work, Nevertheless, sometimes, for the sake of comprehensiveness and readability, a given subject will be covered together in a sub-chapter with productions from different periods (for example, the theme of Domagoj’s Archers, Venera Pudica, Moses, Pietà, the historical origins of memorial architecture and so on). Finally, although most of the works from the periods mentioned are universally known and have been presented in previous interpretations, until this research they were not discussed in a single place and contextualised through stylistic treatment and categorisation that covers stylistic and thematic formation, from ancient sources up to Neoclassicism. The research was founded mainly on works and documents kept in the Ivan Meštrović Museums (Meštrović Atelier in Zagreb, Meštrović Gallery in Split) but also on those to be found in other domestic and foreign museums, libraries, state and private archives. Prior research was crucial – that devoted to Ivan Meštrović, anti-modernism and that addressing the international context. Meštrović’s writings about Michelangelo, the publications he possessed, his collection of photographs and reproductions of Ancient and Renaissance art and architecture tell of his continued and dedicated study of historical periods, the lessons of which he deliberately incorporated into his own productions and adjusted to the current moment and visual style. This thesis shows that Meštrović’s classical, multi-faceted identity is a key determinant of his creative work, which cannot without it be interpreted integrally and contextualised within the framework of modern Croatian and European sculpture. Iako su rad i život Ivana Meštrovića (1883.–1962.) predmet brojnih izučavanja, klasična komponenta njegova stvaralaštva nije do sada bila protumačena i objedinjena. Ona se formalno i tematski prepoznaje u svim segmentima njegova umjetničkog, arhitektonskog, pedagoškog i esejističkog djelovanja, te se analizira u tri glavne cjeline, koje vremenski obuhvaćaju prva dva desetljeća 20. stoljeća, međuratno razdoblje i poslijeratnu fazu. Jedan je od rezultata istraživanja, koji se odnosi na prvu cjelinu, uvođenje pojma utopijske skulpture, izlučenog iz konceptualne i povijesne reperkusije Partenona na europsku skulpturu kraja 19. i prve polovice 20. stoljeća. On se tumači na primjeru Vidovdanskoga hrama. Francuski kipari pružaju glavni komparativni materijal na temelju kojeg se uočava Meštrovićeva transgresija od prihvaćanja načela fragmentarne skulpture i asamblaža, arhajskoga monumentalizma i neoklasicizma. U međuratnom razdoblju klasična komponenta prepoznaje se kao stil sâm (neoklasicizam). On je zamjetan na monumentalnim skulptorskim i arhitektonskim djelima, koja održavaju ideje moći i stabilnosti. Razdoblje „povratka redu“ korespondira s tezama antimodernizma, programatski formuliranima u esejima o Michelangelu Buonarrotiju. Posljednje razdoblje shvaća se kao rekapitulacija stečenog iskustva, iskazanog kroz zreli ekspresionizam, realizam, autoreferencijalni neoklasicizam i pastišni eklekticizam ili eklektički monumentalizam. Eklektički pristup tradiciji autentičan je umjetnikov iskaz; taj iskaz je kompleksan (opreka modernizam – antimodernizam) i neusporediv s drugim hrvatskim i europskim kiparima i arhitektima. Meštrovićev se klasični, mnogofasetni identitet potvrđuje kao ključna odrednica njegova opusa, bez koje ga je nemoguće cjelovito interpretirati i kontekstualizirati u okviru modernoga hrvatskog i europskog kiparstva. Iako je većina ostvarenja općepoznata, ona do ovog istraživanja nisu bila cjelovito objedinjena kroz kategorizaciju, koja sagledava stilsko i tematsko formiranje – od antičkih uzora do neoklasicizma.

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    Authors: Mlinarec, Jurica;

    The thesis deals with the research of the boundaries of the human body through the phenomena of cyborgization and hybridization of embodiment in interdisciplinary contemporary artistic practices after the nineties of the 20th century. The theoretical framework for reading these practices is largely informed by the posthumanist thoughts of authors such as Donna Haraway, Cary Wolfe, Katherine Hayles and Rosa Braidotti, according to whom the human body is an open system, in constant communication with its immediate environment - natural or artificial, and man is removed from his the central position. Although hybrid entities are not a phenomenon of modern society, the development of science and technology has significantly influenced the research of new forms of embodiment and the limits of the human subject. The appearance of a cybernetic organism (cyborg) implies the extension of the human body by means of technology, motivated by correcting the obsolescence of the human body, enhancing bodily experiences, or creating new forms of technologically mediated bodily abilities. Donna Haraway's extended understanding of the cyborg as an emancipatory strategy, as an entity that subverts not only the dichotomy of nature and technology, but also a number of other dualisms that have shaped the Western tradition, cyborgized bodies are also found in artistic projects that explore forms of new corporeality as sites of interspecies encounters as well as territory which can be transformed by blurring the lines between human and non-human. Finally, the issue of disembodiment, i.e. generating new bodies in digital and virtual space, is taken as a significant concept, exploring artists who created new subjects in the form of avatars and new boundaries of corporeality by utilising technologies such as virtual reality (VR). Diplomski se rad bavi istraživanjima granica ljudskog tijela kroz fenomene kiborgizacije i hibridizacije tjelesnosti u interdisciplinarnim suvremenim umjetničkim praksama nakon devedesetih godina 20. stoljeća. Teorijski okvir iščitavanja ovih praksi uvelike je informiran posthumanističkom misli autora poput Donne Haraway, Caryja Wolfea, Katherine Hayles i Rosi Braidotti, prema kojima je ljudsko tijelo otvoren sustav, u stalnoj komunikaciji sa svojom neposrednom okolinom - prirodnom ili umjetnom, a čovjek izmješten iz svoje središnje pozicije. Iako hibridni entiteti nisu pojava suvremenog društva, razvoj znanosti i tehnologije značajno je utjecao na istraživanje novih oblika tjelesnosti i granica ljudskog subjekta. Pojava kibernetskog organizma (kiborga) podrazumijeva esktenziju ljudskog tijela pomoću tehnologije, motivirano ispravljanjem zastarjelosti ljudskog tijela, amplifikacije tjelesnih iskustava ili pak stvaranjem novih oblika tehnološki posredovanih tjelesnih sposobnosti. Proširenjem shvaćanja kiborga Donne Haraway kao emancipatorske strategije, kao entiteta koji ruši ne samo dihotomiju prirode i tehnologije, već i niz drugih dualizama koji su oblikovali zapadnu tradiciju, kiborgizirana tijela pronalaze se i u umjetničkim projektima koji istražuju oblike novih tjelesnosti kao mjesta međuvrsnih susreta kao i teritorij koji je moguće transformirati zamagljujući granice između ljudskog i ne-ljudskog. Naposljetku, kao značajan pojam uzima se pitanje bestjelesnosti, odnosno generiranja novih tijela u digitalnom i virtualnom prostoru, istražujući umjetnike koji su stvarali nove subjekte u formi avatara i nove granice tjelesnosti korištenjem tehnologije poput virtualne stvarnosti (VR).

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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Šakić, Sanja;

    The dissertation analyses the prose work of the contemporary Serbian writer David Albahari starting from the thesis that his oeuvre reveals doubt in any discursively based reality, regardless of the socio-political actuality. We observe that the problem relation between history and literature as narrative discourses presents a poetical and content-related continuity at the level of the oeuvre and that the representation and favouring of historical, political, cultural and social topics in the critical reception is a product of the reader’s time configuration and not of the meaning which explicitly and clearly arises from the literary text. The research proceeds by considering the doubt in occupying the real and the factual with language and thus focuses on analysing the narrator’s language activity, narrative identity and plot based on Paul Ricoeur’s hermeneutical theory of narration, its critical stance towards the structuralist analysis and the concept of identity as a dynamic and incomplete coming-into-being. Favouring and interpreting the pronounced metafictional dimension of Albahari’s literary texts show that their referential dimension is systematically brought into question and that this subversive strategy is a precondition to narration understood as a creative activity and a precondition to reading understood as a re-creation of a text. The dissertation proposes a new reading of Albahari’s oeuvre through the formation of a literarytheoretical framework which should synthesize the poetical and content-related preoccupations of literary texts and the consideration of the relation between literature and historiography as narrative discourses, placing at its centre the reading which articulates and concretizes the story. The proposed reading is expected to contribute to a substantial and systematic insight into the prose work of David Albahari, as well as to the critical evaluation of its poetic continuity in relation to the corresponding literary phenomena in modern literature. Rad se bavi prozom suvremenog srpskog pisca Davida Albaharija polazeći od teze da se u njegovu opusu očitava sumnja u svaku diskurzivno utemeljenu stvarnost, neovisna o sociopolitičkoj zbilji. Uočava se da problemski odnos historije i književnosti kao pripovjednih diskursa predstavlja poetički i sadržajni kontinuitet na razini opusa, te da je zastupljenost i privilegiranje historijskih, političkih, kulturoloških i socijalnih tema u kritičkoj recepciji produkt čitateljske konfiguracije vremena, a ne značenja koje eksplicitno i jasno proizlazi iz književnoga teksta. Istraživanje se kreće putem razmatranja sumnje u zaposjedanje realnog i faktografskog jezikom, pa je usmjereno na ispitivanje jezične djelatnosti pripovjedača, pripovjednog identiteta i zapleta zasnovano na hermeneutičkoj teoriji pripovijedanja Paula Ricoeura, njezinu kritičkom odnosu spram strukturalističke analize i konceptu identiteta kao dinamičnog i nedovršenog postajanja. Privilegiranje i tumačenje izražene metafikcionalne dimenzije Albaharijevih književnih tekstova pokazuje da se njihova referencijalna dimenzija sustavno dovodi u pitanje, te da je ova subverzivna strategija preduvjet pripovijedanju shvaćenom kao kreativna djelatnost i preduvjet čitanju shvaćenom kao ponovno osmišljavanje teksta. Rad predlaže novo čitanje Albaharijeva opusa formiranjem književnoteorijskog okvira kojim sintetizira poetičke i sadržajne preokupacije književnih tekstova s razmatranjem odnosa književnosti i historiografije kao pripovjednih diskursa, postavljajući u svoje središte čitanje koje artikulira i konkretizira priču. Od predloženog čitanja očekuje se da doprinese kvalitetnom i sustavnom uvidu u prozu Davida Albaharija, te kritičkom sagledavanju njezina poetičkog kontinuiteta u odnosu prema sukladnim književnim pojavama u modernoj književnosti.

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    Authors: Barić, Ivana;

    The topic of the thesis is the public sculpture in Karlovac of the 20th century. All free-standing public sculptures are included, excluding tombstones. The paper provides a catalog overview of public sculpture through the 20th century. The sculptures were analyzed in the context of cultural and political circumstances, so their division is conditioned by the mentioned. Due to the cultural and political turmoil over the century, public sculptures were erected, removed, or devastated. The century begins with the work of the great Croatian sculptor Ivan Rendić, but the entire first half of the century is quantitatively impoverished and includes only two works. The second half of the century is divided into units that include the monumental heritage of the People's Liberation War, new curatorial practices from the 1960s and 1970s including modernist sculpture, and finally, the local art scene gathered around the Association of Amateur Artists of Karlovac in the 1990s. The sculpture of the People's Liberation War is marked by regime iconography, socialistic realism, and hyper-production of sculptures of monumental characters. New curatorial practices of the 1960s include the Koranski park skulptura event and the work of the Fund „13. srpanj“, which is credited with the largest orders in the second half of the century. The Fund „13. srpanj“ brings to Karlovac the Sun of Ivan Kožarić, the Mother in Thinking by Ivan Meštrović, and the First Steps of Frano Kršinić. At the end of the century, amateur artists gathered around the Udruga likovnih autora Karlovac dominated, enriching the city with a series of wooden sculptures in their naive manners. The work explores the stratification of the meaning and understanding of individual works. Historical-artistic analysis stands out most in the analysis of modernist sculpture by important authors of the 20th century. The paper also provides a critical review of the attitude of the public, citizens of the city of Karlovac, cultural institutions, and public policies towards art in public space. Tema diplomskog rada je karlovačka javna skulptura 20. stoljeća. Obuhvaćena je sva samostojeća javna plastika izuzev nadgrobnih spomenika. Rad donosi kataloški pregled javne skulpture kroz 20. stoljeće. Skulpture su analizirane u kontekstu kulturno-političkih prilika koje uvjetuju njihovu podjelu. Stoljeće započinje radom velikog hrvatskog kipara Ivana Rendića, a cijela prva polovica stoljeća kvantitativno je siromašnija u odnosu na drugu te obuhvaća svega dva djela. Druga polovica stoljeća podijeljena je na cjeline koje uključuju spomeničku baštinu Narodno-oslobodilačke borbe (socijalni realizam), novih umjetničkih praksi iz 1960-ih (socijalni modernizam), lokalnu scenu okupljenu oko Udruženja likovnih amatera Karlovca te razdoblje 1980-ih i 1990-ih. Skulpturu NOB-a obilježava režimska ikonografija, socijalni realizam i hiperprodukcija memorijalne plastike. Nove umjetničke prakse 1960-ih obuhvaćaju manifestaciju Koranski park skulptura te djelovanje Fonda „13. srpanj“ koji je zaslužan za najveće narudžbe u drugoj polovici stoljeća. Fond 13. srpanj otkupio je djela Prizemljeno Sunce Ivana Kožarića, Majku u razmišljanju Ivana Meštrovića i dr. Krajem stoljeća dominiraju likovni umjetnici amateri okupljeni oko Udruge likovnih autora Karlovac koji u svojim naivnim manirama obogaćuju grad za niz drvenih skulptura. Rad istražuje slojevitost značenja i poimanja pojedinačnih djela. Povijesno-umjetnička analiza ponajviše se ističe u promatranju selekcije skulpture važnih autora 20. stoljeća. Kroz rad se proteže i kritički osvrt na odnos publike, građana i građanki grada Karlovca, kulturnih institucija i javnih politika prema umjetnosti u javnom prostoru.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Knego, Paula;

    Through typological and stylistic analysis of late medieval and postmedieval pottery sherds from the archeological site of Benedictine monastery of St. Mary on Lokrum island, this thesis gives an insight into one specific part of archeological heritage of this monastery – pottery, which has so far been neglected. The first part of the paper deals with the history of this monastery and Lokrum island, after which the history of archeological research is presented. The next part describes the main types of pottery present in this paper and the process of their production, ie the process of production of late medieval and postmedieval glazed dishes. The last part of the paper deals with the analysis of selected ceramic material, in which an attempt was made to determine the time and place of production of individual fragments, which are presented in the catalog. The aim of this paper is to contribute to the knowledge of the history of the monastery on Lokrum and the knowledge of late medieval and early postmedieval pottery in the area of Dubrovnik and Croatia. Tipološkom i stilskom analizom ulomaka srednjovjekovne i novovjekovne glazirane stolne keramike s lokaliteta benediktinski samostan sv. Marije na Lokrumu, ovaj diplomski rad donosi uvid u jedan specifični aspekt arheološke baštine ovog samostana - keramičku građu, koji je dosad zanemarivan. Prvi dio rada bavi se povijesti ovog samostana i Lokruma, nakon čega je prezentirana povijest istraživanja. Sljedeći dio opisuje glavne vrste keramike prisutne u ovom radu te proces njihove proizvodnje, odnosno proces proizvodnje kasnosrednjovjekovnog i novovjekovnog glaziranog posuđa. Posljednji dio rada bavi se analizom odabrane keramičke građe, u kojoj se pokušalo odrediti vrijeme i mjesto proizvodnje pojedinih ulomaka, koji su prezentirani u katalogu. Cilj je rada dati doprinos poznavanju povijesti samostana na Lokrumu te poznavanju kasnosrednjovjekovne i ranonovovjekovne keramike na području Dubrovnika i Hrvatske.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Nikšić, Petra;

    The lack of a large amount of pottery sherds dating from the 1st to the middle of the 3rd century at the site of Our Lady of the Mountain indicates that the population did not live there permanently during that period. After the establishment of peace and the organization of the Roman administrative authority, the population no longer needed to live on the hilltop and moved to the valley where a settlement with a necropolis was organized. It is not possible to give a precise answer to the question about the function of the hilltop site after the population moved to the valley. The first possibility is that part of the population still remained on the hilltop and lived there in a small, rural settlement of wooden houses, of which almost nothing has been preserved, except perhaps a few post holes that were not destroyed by medieval and modern graves. If, however, the population of the hilltop had completely abandoned their residence there, the possibility of retaining a cult place there remains. There is no evidence that the Late La Tène or perhaps Early Roman building beside the Early Christian complex was used for housing, as no significant amount of pottery was found there. More specifically, regarding the Romanization period, no large amount of pottery was found that could confirm that the hilltop was used as a settlement. Nevertheless, the pottery that has been found and can be dated to that period belongs to fine pots that may not be the pinnacle of Roman pottery, but for a settlement geographically isolated and therefore less connected to the rest of the Romanized part of the Noric-Pannonian border area, those finds are quite significant, even in the fragmented state in which they are. Fragments of thin-walled pottery, slipware, so-called eggshell ware and face pots belong to this period. The complete absence of fragments of coarse pots of the Late La Tène period tradition with a surface combed with vertical, slanted or irregular strokes is also significant, and this situation may indicate that the hillfort was really only a cult area where offerings to pagan deities were brought in fine tableware. This could be confirmed by the face pot fragment that are sometimes associated with pre-Roman beliefs, as well as the positions where earlier Roman pottery was found. All fragments of thin-walled pottery, slipware, face pots, etc. were found in trenches around the present-day church and early Christian church complex, i.e. around a potential earlier pagan sanctuary. Of the coarser pots that can be attributed to the 1st and 2nd century, only very small fragments of a relatively fine fabric can be singled out with certainty, decorated with short strokes with a small comb that sometimes overlap. For the earlier Roman period in Lobor, the find of Trajan's sestertius is also significant, which, together with a bowl of thin-walled pottery of probably Siscian production, is one of the earliest finds at the site of Our Lady of the Mountain, although there is a possibility that it was in later use. If Trajan's coin from Lobor is indeed of a later date, the thin-walled pottery bowl is the earliest confirmed find of Roman pottery in Lobor. Although it is attributed to Siscian production, based on the discovery of one bowl, it cannot be claimed that the process of Romanization arrived from the south, especially since the Lobor area has been connected with the area northwest of it since at least the Late Bronze Age, if not earlier. As it seems according to the current state of research and the analysis of pottery, life returned to the hillfort to a greater extent in the second third or maybe even the second half of the 3rd century. It is possible that the return of the population to the hillfort did not take place during a shorter period, but the findings of pottery suggest that. The number of vessels that can be attributed to the time around the middle of the 3rd century is greater than the number of those dated to the 1st and 2nd century, and in addition, the distribution of fragments of this later ware is no longer concentrated around the present-day church, but extends to the northern plateau and the area along the northern rampart. There are several fragments of relief terrae sigillatae that can be attributed to the Rheinzabern workshops and dated to the second half of the 2nd or the first half of the 3rd century. The only fragment of a Faltenbecher type cup can be dated from the end of the 2nd to the third quarter of the 3rd century. In this later group of early Roman pottery, Pannonische Glanztonware fragments are the most numerous. Although the sherds were not found in a closed context, based on analogies they are dated from the first quarter of the 2nd to the end of the 3rd century. It is indicative that the group of tableware that is dated at the latest is also the most common of the earlier Roman pottery. The largest number of Roman coins found at the site of Our Lady of the Mountain in Lobor can be dated from the middle of the 3rd century onwards. Those include all Roman coins except for the aforementioned Trajan's sestertius and the perforated sestertius of Maximinus I of Thrace, which was obviously in secondary use in a later period. Taking into account the dating of the coins and the group of pottery that appeared in the middle or second half of the 3rd century and whose quantity also increased significantly after that period, primarily glazed pottery, it can be determined with considerable certainty that life returned to the late La Tène hillfort immediately after the middle of the 3rd century and that the Late Antique hilltop settlement in Lobor was established. It is not excluded that the refugial character of the position of the Lobor hillfort was used earlier, perhaps during the Marcomannic Wars, but there is no evidence for this so far. A large amount of tableware cannot be attributed to that time, and certain types, such as unglazed mortars, are completely missing. In addition, there are no finds of Roman coins or other objects that can certainly be attributed to that time and interpreted in favor of a shorter settlement during the uncertain times of the second half of the 2nd century. The significant increase in the amount of pottery and the presence of almost all groups of pottery from the middle of the 3rd century, which are facts that indicate the permanent character of the hilltop settlement in Late Antiquity, could be connected with the turbulent times of the so-called crisis of the 3rd century. The beginning of that crisis period can be connected to the latest dated fragments of tombstones found as spolia at the site of Our Lady of the Mountain, as well as the stelae of Marcus Cocceius Superianus and Valerius Lucilianus found in the center of today's Lobor. It seems that since that time, the deceased are no longer buried in the necropolis of the lower settlement in Lobor, but in a so far unknown location, probably closer to the hilltop settlement, and later next to the early Christian complex in the center of the hilltop settlement. The discovery of graves on the artificially formed elevation north of the shrine of Our Lady of the Mountain did not result in a sufficient amount of pottery fragments that could confirm the position as a Late Antique cemetery, despite the discovery of one bone comb and the foot of a glass cup. The number of pottery fragments is negligible and there are no diagnostic sherds. As it seems so far, the abandonment of the permanent settlement in the valley along the Rieka stream and the establishment of the hilltop settlement was probably not only connected with the threats to the Roman population from the barbarian groups from the other side of the Danube, but also with the general state of insecurity during a greater part of the 3rd century. Late Antique glazed pottery marks the period from the second half of the 3rd to the middle or second half of the 5th century. Although it represents only 2.57% of the Late Antique pottery sherds, which is not an unusual number for sites far from the major workshop centers on the Danube or in northern Italy, glazed pottery represents a group in which almost all basic types and methods of decoration are represented. The bowls, plates, cups, bowls with handles and jugs belong mostly to tableware and mortars to kitchenware. Decorative motifs include grooved single and combed horizontal lines, single and combed undulations, small triangular, rectangular and irregular motifs made by rouletting, notches and oval motifs made with a sharp or rounded object on the rim, notches made using the chattering technique, stamped concentric circles, modeled wavy rim, and sometimes there are combinations of two decorative motifs. The decoration was sometimes carried out by painting with a red slip in the form of flames and flower petals, and the exteriors of several glazed bowls were decorated with burnished horizontal lines. Mortars decorated with slip painting and bowls with burnished horizontal lines, as well as related examples of glazed pottery with an intense olive green or yellow green glaze combined with red slip without a pattern should probably be dated earlier, to the second half of the 3rd and the first half of the 4th century, and glazed pottery of simpler forms, duller glaze and slip color if it was applied, and generally glazed pottery of poor glaze quality could be dated to the later period of the second half of the 4th and the first half of the 5th century. No examples of glazed pottery have been identified that could be could be dated only to the second half of the 5 th or even the 6th century, which is also a problem with other groups of Late Antique pottery from Lobor. Considering the theory about local workshops of glazed pottery, which has not yet been confirmed by field research, it was not possible to determine the workshop origin of the glazed pottery from Lobor, but based on the variety of fabrics, firing techniques, glaze and slip colors and methods of decoration, it is very likely that this glazed pottery originates from several workshops that were probably not located in the immediate vicinity of the hilltop settlement in Lobor. If such a workshop had existed nearby, the glazed pottery from Lobor would have been much more uniform, and there would have probably been fragments of tableware sets that have not been recorded so far. According to that and on the basis of analogies from the NoricPannonian border area, the origin of the glazed pottery from Lobor should be sought at the regional level in several workshop centers or smaller workshops. Unlike glazed pottery, slipware cannot be associated only with Late Antiquity, as is evident from the finds of thin-walled pottery, and rare examples remain almost until the end of late antique hilltop settlement and represent some of the latest late antique objects found in Lobor. In addition to thin-walled pottery, this group of pottery also includes terra sigillata, Pannonische Glanztonware, but also vessels of late antique forms with slip in shades of red and gray, which for the most part correspond to the forms of late antique glazed pottery. Simple oil lamps with a handle also appear in this group. Some of the reduction-fired jugs with a dark gray slip are similar in forms to jugs with burnished decoration and simple reduction-fired jugs without slip or processed surface. Considering the correlation of this group, most of the slipware, apart from the earlier groups of the 2nd and 3rd century, should be dated from the second half of the 3rd to the middle or second half of the 5th century. Here, the group of shallow bowls or deep plates that imitate North African red slipped pottery, specifically the form Hayes 61a and its variant Hayes 61a trans. Although the fabric, firing technique and slip quality are completely different, the orm of some examples is completely identical to North African examples and should be dated from the middle of the 4th to the middle of the 5th century. Although they do not represent original North African products, they appeared in the Noric-Pannonian at the height of North African import to the area in the 4th and 5th century and certainly belong to regional production, probably from the northern Italy that had the most contact with overseas areas such as North Africa and the Eastern Mediterranean. Original North African and Eastern Mediterranean ware was recorded only around the end of the 5th century. An undecorated fragment of an ARSW conical bowl of the Hayes 87 or 88 form and a fragment of a North African oil lamp of the Hayes II/Atlante X form decorated with triangle and palmette motifs, as well as an undecorated fragment of an Eastern Mediterranean LRC form Hayes 3E bowl were found in Lobor. The North African sherds can be dated to the end of the 5th or the beginning of the 6th century, and the Eastern Mediterranean to the last quarter of the 5th and the first quarter of the 6th century. Given the small number of fragments of Mediterranean pottery and the fact that earlier forms, which would belong to the period of more intensive import to the Noric-Pannonian area, were not found, so far it should be assumed that they were personal property that was probably brought to Lobor at the beginning of the 6 th century, and not objects of trade between the Mediterranean and the Lobor area. Perhaps their find in Lobor was connected to the relocation of part of the population from the territory of Poetovio, or it was even connected with the withdrawal of part of the population from Noricum Ripense. If this was indeed the case, it would confirm the gathering and refugial role of the fortified hilltop settlement in Lobor, which at the beginning of the 6th century was obviously an important church center where the early Christian complex with a church and a baptistery and possibly other churches was expanded and renovated. The assumption was that the hilltop settlement in Lobor certainly gathered the population of today’s Zlatar valley in unsafe periods, the population which usually lived on farms and settlements similar to the villa in Gornja Batina. The finds of imported Mediterranean tableware confirm that the settlement in Lobor also received residents of probably higher ranks from the threatened settlements of Noric-Pannonian border area. Although early Christian motifs, which are otherwise common, were not preserved on the mentioned imported pottery due to the high degree of fragmentation, it cannot be ruled out that the pottery was brought as part of the household of the Bishop of Poetovio, who is sometimes associated with the construction of the early Christian complex in Lobor, and perhaps with his stay in to an unexplored building on the south side of the site of Our Lady of the Mountain. As for the later forms of imported Mediterranean pottery, they have not been found in Lobor so far, so the question about the end of life in the hilltop settlement cannot be answered solely on the basis of pottery finds. Burnished pottery and pottery with burnished decoration from Lobor belong to the 4th and 5th centuries. A smaller part of that group of pottery belongs to open-shaped vessels, mostly bowls, decorated exclusively with polished horizontal lines, often on both sides of the vessel, for which the closest analogies were found in the Danube area of the eastern Noricum Ripense. Based on these analogies, the dating of the Lobor specimens of this group is placed from the middle of the 4th to the middle of the 5th century. Another group of the pottery with burnished decoration can be connected with the Pannonian part of the Danube limes, where three groups appear based on technological, typological and decorative characteristics. By analyzing these characteristics, the examples from Lobor were placed in the first two groups and dated from the middle to the end of the 4th century in the case of the first group and to the last quarter of the 4th and the beginning of the 5th century in the case of the second group. No fragments were found that could be attributed to the third group. It is possible that, due to the distance from the Danube, the immediate danger and the influence of barbarian groups, with the presence of which the appearance and popularity of this group of pottery is at least partially connected, the dating of the pottery with burnished decoration from Lobor should be extended and that at least until the end of the 5th in the workshops from which this pottery was procured for the hilltop settlement in Lobor, the proven production technology known from older potters was used. It is certain that one cannot expect exactly the same fabrics as in the workshops on the Danube or other larger production centers in Pannonia, and the situation is similar as with glazed pottery and slipware. The variety of fabrics and firing techniques points to several workshops from which the population of Lobor procured pottery of this group. What is perhaps surprising about this group, which is linked to the influence of barbarian groups, is that in Lobor it was not found in combination with stamped pottery. Not a single fragment with stamped decoration typical for the 6th century has been found so far. According to the current state of research, this should mean that the Lobor area was not under the direct influence of the Lombards, although it is sometimes placed on the eastern edge of the so-called Pólis Norikón. Based on the absence of stamped pottery, it is not possible to determine whether this means that in the middle of the 6th century the hilltop settlement in Lobor was already abandoned or at least that the number of inhabitants was significantly reduced, or whether this only happened in the last quarter of the 6 th century, to which the burned layers in the baptistery and on the late antique rampart were dated. There are only a few items from Lobor that can be dated to the period between the latest dated form of pottery and the date of the burned layer. These are objects from grave 50 and a buckle part from a destroyed grave that can be dated to the first half of the 6th century and an S-fibula of the Várpalota-Vinkovci type dated to the second third of the 6th century. They may also be joined by fragments of imported Mediterranean vessels if they were really transferred from another settlement and remained in use for a longer time. The least amount of information about the late antique community in Lobor was provided by reduction- and oxidation-fired fine pottery. The types are related to those of the groups of glazed pottery, slipware and pottery with burnished decoration. Reduction-fired fine pottery is typologically more closely related to the pottery with burnished decoration, and oxidation-fired fine pottery to glazed pottery and slipware. This group includes interesting and rare examples of stamped pottery, which differ from the 6th century stamped pottery according to their fabrics and decorative motifs and clearly belong to an earlier time. There are two fragments of oxidation-fired jugs or pots with stamped concentric circles, which are a typical late antique motif, while another example is decorated in a more complicated way. It is a fragment of an oxidation-reduction fired vessel of large dimensions, which was decorated on the outside with a combination of a stamped rosette, arc motifs made by double rouletting and an applied twisted band. An analogy for this last example should probably be sought in the area of western Noricum Mediterraneum, but in the group of coarse pottery, which in that area is generally more elaborately decorated. Although one of the assumptions was that the final phase of life in the hilltop settlement in Lobor could be explained using the results of the analysis of coarse pottery, it shows that simple, long-lasting forms of pots, jugs, bowls and plates dominate, and of which no type can be exclusively dated to the second half of the 6th century. Pots with extended rims are by far the most common. The problem with dating and finding analogies is also represented by the fact that a large part of these pots and other vessels is undecorated. Decorated examples are dominated by simple decoration with grooved single and combed horizontal lines and single and combed wavy lines, and other decorative motifs are much less common. Another group of pottery that has not yet been found in Lobor, and is connected to groups of coarse pottery, is the so-called non-Roman pottery. These are biconical pots and deep bowls that are often decorated with wavy lines, and are known from the hilltop settlements of the Noric-Pannonian area. This pottery is also associated with the presence of Lombards in Noricum, so its absence in the hilltop settlement in Lobor is only a confirmation that there was no Lombard influence, at least as far as the production or distribution of pottery is concerned. In view of the found pottery with burnished decoration and typical late antique coarse vessels, one can only speculate about the probably indirect influence of barbarian groups, primarily Goths, from the end of the 4 th century. As for the spatial organization of the settlement based on the comparison of architectural remains and clusters of pottery sherds determined by means of quantitative analysis and calculation of the density of the number of sherds per square meter, it was determined that in Late Antiquity there was still a residential part of the settlement on the northern plateau and on the western plateau at least along the northern rampart. It seems that the Late La Tène earthen rampart on which the late antique wall was built provided sufficient protection from the strong northern wind. Based on the findings of terra sigillata, it can be assumed that the part of the plateau next to the northern rampart was already inhabited in the middle of the 3rd century, and considering the finds of a thin-walled ceramic bowl and an Eastern Mediterranean LRC bowl in the same area of the northern plateau outside of the enclosure wall, it can be assumed that buildings existed there even though they were not preserved. A ruin with Roman tegulae nearby could have belonged to that part of the settlement, where the third cluster of pottery sherds was recorded. As for the early Christian complex and the buildings in the immediate vicinity inside the enclosure wall, no late antique pottery sherds were found that could be attributed to the church inventory, but small remains of the building and the heating channel, which perished in a fire in the middle of the 5th century, were preserved partly located under the early Christian church. The majority of pottery finds in the so-called black layer can probably be associated with this building. The late antique ceramic vessels found in front of the facade of the present church should be connected to the wooden building west of the baptistery, which probably existed for some time together with the early Christian complex because it was bypassed by the drainage channel from the baptistery. The interpretation of the space inside the enclosure wall based on the pottery finds, which would indicate that those two buildings were equipped with a kitchen area, should still be taken with caution. This is the part of the site where the largest construction interventions were undertaken, as well as the most intensive burial of the deceased, and it is quite possible that the pottery finds come from disturbed layers and structures that were completely destroyed by later interventions, and all this especially considering the fact that inside the enclosure wall no significant clusters of pottery sherds were determined, neither in total nor by individual groups. Analyzes of traces of use show that in the hilltop settlement in Lobor, pottery was a valuable asset of the late antique population. The use of glazed mortars long after they were damaged and their original surface covered with grit and glaze was destroyed, as well as the repair of vessels of almost all groups (glazed, fine, rough), and not only the more luxurious products, prove that it was valuable enough and necessary to be used even after it has lost its original properties and quality. The recycling of pottery confirms that, after it’s use was really no longer possible, it was used as an additional resource in the settlement and was not completely discarded. In conclusion, it can be said that the fortified hilltop settlement in Lobor, founded as a permanent settlement around the middle of the 3rd century, according to the findings of late antique pottery, at least partially fits into the system of such settlements in the Noric-Pannonian border area. Despite the fortification, the ratio of pottery and other finds, especially those of a military nature, indicates that it was a civilian-type settlement that was transformed into a church center at the end of Late Antiquity. The representation of almost all groups of local, regional and imported late antique pottery confirms that the settlement was open to influences from other parts of the Roman Empire, especially from the north and west, despite the apparently isolated character of the settlement in Lobor, which was not located on important river or land routes and whose area was not mentioned in historical sources. In the middle of the 6th century, however, the settlement was closed against new influences, and the inhabitants probably practiced increasing self-sustainability and self-sufficiency in the last decades. An already abandoned settlement or a settlement with a significantly reduced number of inhabitants was burned according to analyzes around 580 AD, probably during the Avar-Slavic invasion. There are no more reliably dated pottery sherds from that time. Although the western parts of the Noric-Pannonian area saw the end of antiquity at the beginning of the 7th century, it seems that this end came a little earlier to the fortified hilltop settlement in Lobor. U doktorskom radu primarno je analizirano kasnoantičko keramičko posuđe s položaja Majka Božja Gorska i Pavlova pećina u Loboru. Ono je identificirano, klasificirano, katalogizirano i interpretirano u kontekstu njegovog nalaza unutar kasnoantičkog visinskog naselja i u svezi s njim. Osim kasnoantičkog, zabilježena je i manja količina ulomaka antičkog keramičkog posuđa koja dokazuje da taj položaj nije bio posve napušten ni tijekom razdoblja od 1. do 3. st. Unatoč tome, mnogo veća količina kasnoantičkog keramičkog posuđa od 3. do 6. st. potvrđuje da se revitalizacija kasnolatenske gradine, odnosno osnutak kasnoantičkog visinskog naselja u Loboru treba datirati nakon sredine 3. st. Najkasniji identificirani primjerci kasnoantičkog keramičkog posuđa mogu se datirati u prvu polovicu 6. st., a nisu pronađene posude koje bi se mogle sa sigurnošću datirati nakon toga vremena, unatoč tome što analize C14 pokazuju da je visinsko naselje spaljeno oko 580. god. Najveća količina ulomaka kasnoantičkog keramičkog posuđa može se datirati u 4. i prvu polovicu 5. st. Zabilježene su skupine uvoznog mediteranskog, regionalnog i lokalno proizvedenog keramičkog posuđa, a prema sadašnjem stanju istraživanja, nisu zabilježene skupine za koje bi se moglo sa sigurnošću tvrditi da su neromanskog podrijetla. Kasnoantičkom finom keramičkom posuđu pripisano je glazirano keramičko posuđe, posuđe s prevlakom, s uglačanim ukrasom i redukcijski i oksidacijski pečeno posuđe, a grubom sitnozrnato i krupnozrnato posuđe. Tipološko-kronološkom i kvantitativnom analizom ukupnog spektra kasnoantičkog keramičkog posuđa, kao i pojedinih skupina, daje se interpretacija prostornog uređenja visinskog naselja u Loboru, ali i dijela svakodnevnog života kasnoantičkog stanovništva noričko-panonskog graničnog područja, kojemu je pripadao loborski prostor, koji se odnosi na proizvodnju, distribuciju, korištenje i odbacivanje keramičkog posuđa.

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    Authors: Zlodi, Goran; Majer, Ivana; Biličić, Lucija;

    Browsing through topics in online catalogues is often the first step in the information-seeking process. Therefore, subject analysis and indexing are vitally important and also closely connected to the subject access to information. The aim of this paper is to analyse and compare the subject terms from different knowledge organization systems, used for subject retrieval in online catalogues of museums and cultural heritage institutions, in order to better understand and improve browsing interfaces. Preliminary research and mapping will be conducted on subject terms collected from three sources: (1) the Art UK platform, (2) the Tate's website, and (3) the Art & Architecture Thesaurus. The mapping between the previously mentioned subject vocabularies resulted in the identification of various levels of matching. Based on the analysis and interpretation of mapping results, a few suggestions, aimed at ensuring the functionality and convenience of browsing in the context of online catalogues of collections held in museums and heritage institutions, are offered.

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    Authors: Radolović, Karla;

    Cultural tourism is a form of tourism in which tourists visit a destination partially or fully motivated by historical heritage, art or lifestyle. The goal of cultural tourism destinations is the development of sustainable tourism. The city of Pula has a rich archaeological heritage and rich foundations for the development of quality cultural tourism. Certainly the most famous is the Amphitheater, where most events take place. The archaeological heritage gives the city an authentic image and a unique offer in tourism, as well as the possibility of long-term development of cultural tourism. Awareness of the protection of archaeological heritage brings an increasing development of archaeological tourism, which is used to educate the local population and tourists. Archaeological tourism also contributes to the development of the city and its infrastructure, and it also helps the local population, for whom it is one of the sources of income. The most famous events that the city offers to tourists and local residents are the Pula Film Festival, Days of Antiquity and Specracvla Antiqva, which attract many visitors. The tourist offer also includes mobile applications whose goal is to guide the visitor through the city in an interactive way. Kulturni turizam oblik je turizma u kojem turisti posjećuju destinaciju djelomično ili u potpunosti motivirani povijesnim nasljeđem, umjetnošću ili stilom života. Cilj kulturno turističkih destinacija je razvoj održivog turizma. Grad Pula ima bogatu arheološku baštinu i bogate temelje za razvoj kvalitetnog kulturnog turizma, a najpoznatiji je Amfiteatar koji je iznimno posjećen kao objekt i u kojemu se događa najveći broj manifestacija. Arheološka baština gradu daje autentičnu sliku i jedinstvenu ponudu u turizmu, te mogućnost dugoročnog razvoja kulturnog turizma. Svijest o zaštiti arheološke baštine donosi sve veći razvoj arheološkog turizma pomoću kojeg se radi na edukaciji lokalnog stanovništva i turista. Arheološki turizam također pridonosi razvoju grada i gradske infrastruktire, a pomaže i lokalnom stanovništvu kojemu je to jedan od izvora prihoda. Najpoznatije manifestacije koje grad nudi turistima i lokalnom stanovništvu su Pulski filmski festival, Dani antike i Specracvla antiqva koji privlače brojne posjetitelje. U turističkoj ponudi se nalaze i mobilne aplikacije čiji je cilj na interaktivan način provesti posjetitelja kroz grad.

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    Authors: Mateljak, Lea;

    Since ancient times libraries have been important cultural, social and information centers. Because of the value they contribute to society, the loss of libraries is a big loss for the communities in which they are located, but also for culture in general. Because of this, they are often targeted in wars because this is used for erasing history of a nation. Based on numerous literature, in this paper it will be examined why libraries are destroyed. An overview of the libraries destroyed in the wars of the 20th and 21st centuries will be given. Examples from the Second World War, the Croatian War of Independence the War in Bosnia and Herzegovina, the War in Iraq and the War in Ukraine will be covered. Special emphasis will be placed on valuable libraries with the greatest losses, such as the National and University Library of Bosnia and Herzegovina and the National Library of Iraq. After the example of libraries, the existing UNESCO protections of libraries in case of armed conflicts will be discussed. Finally, the reasons why libraries are deliberately targeted in wars will be examined and whether there is an adequate solution for this problem. Knjižnice su od davnih vremena bitna kulturna, društvena i informacijska središta. Zbog vrijednosti kojima doprinose društvu, gubitak knjižnica vrlo je velika šteta za zajednice u kojima se nalaze, ali i za kulturu općenito. Baš zbog toga, vrlo su česta meta u ratovima jer se koriste za brisanje povijesti jednoga naroda. U ovom radu na temelju brojne literature sagledat će se zašto dolazi do uništavanja knjižnica. Dati će se pregled uništenih knjižnica u ratovima 20. i 21. stoljeća. Obradit će se primjeri iz Drugog svjetskog rata, Domovinskog rata, Rata u Bosni i Hercegovini, Rata u Iraku i Rata u Ukrajini. Poseban naglasak stavit će se na vrijedne knjižnice s najvećim gubitcima, poput Nacionalne i univerzitetske biblioteke Bosne i Hercegovine i Nacionalne knjižnice Iraka. Nakon primjera knjižnica obradit će se postojeće UNESCO-ve zaštite knjižnica u slučaju oružanih sukoba. Naposljetku će se sagledati razlozi zašto se knjižnice namjerno ciljaju u ratovima te postoji li adekvatno rješenje za taj problem.

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    Authors: Bajac, Petra;

    By approaching the phenomenon of structural ambiguity from two different perspectives – psycholinguistic and computational, this thesis shows how linguistic research can have practical applications in improving NLP systems. The analyses of specific sentences show breakdowns in processing, present the possible explanations for the reasons behind them through principles such as Minimal Attachment/Late closure and Lexical preference, and demonstrate the backtracking needed in order to achieve a full, successful parsing of ambiguous sentences. The types of sentences chosen for this thesis are called garden-path sentences, which induce a lot of difficulty in processing for both humans and machines, making them a perfect choice to demonstrate the similarities and differences between sentence processing in humans and machines. The research employs a combination of computational methods, both rule-based and statistical, and psycholinguistic hypotheses to explain the parsing process of garden-path sentences. The results show that in order for an NLP system to fully process highly ambiguous sentences such as these, it needs theoretical input to repair the partly parsed structures and successfully complete the parsing process. This implies a strong need for multidisciplinary research involving programmers, linguists, and cognitive scientists to succeed in emulating human intelligence in complex AI systems.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Vujanović, Barbara;

    Although for more than a century now the life and work of Ivan Meštrović (1883–1962) have been studied by numerous research scholars, both foreign and domestic, the classical component of his artistic work has never to date been interpreted, contextualised and brought together between the covers of a single work. In this research, this component has been identified formally and thematically in Meštrović’s sculpture, in his architecture, in the drawing, painting and printmaking that also constitute parts of his oeuvre, in his teaching at the Zagreb Academy of Fine Arts and in his writings about art. The classical component, which is considered to be one of the most important characteristics of the work of this artist and architect, is analysed in three main units, covering in terms of time the first two decades of the 20th century and the interwar and post-war phases. In the introductory part, after the chronological framework of the discussion of Meštrović’s art is established, the frame of reference for the concept of the classical component is addressed. It presumes the internalisation and reinterpretation of patterns of theme and composition from a number of periods of art history. Meant here are Antiquity (the period that extends from the appearance of writing in the 4th millennium BC, via the civilisations of Mesopotamia and Egypt down to the collapse of the Roman Empire), the Renaissance (in the oeuvre of Meštrović this mainly means invoking the art of Michelangelo Buonarroti) and the Neoclassicist period. Then the definition of terminology is addressed (archaism, the archaic and archaistic style, the influences of the Bronze Age and classicism as against Neoclassicism), as well as the determination of the chief comparative context, which is French modern sculpture. In addition, to reinforce the need for the study – in terms of the framework of the problem given – reference is made to recent domestic and international exhibition and publishing projects, and to texts in which modernism is redefined precisely in relation to the reinterpretation of the classical tradition. In the first two decades, the presence of classical elements is interpreted as one of the tendencies associated with the stylistic formations of Impressionism, Secession, Symbolism and Expressionism. Keeping up with references to classical culture can be discerned at the very beginnings of the artist’s engagement with sculpture, during the Vienna years (1900–1907), when Meštrović quite plainly advanced negative views about the tradition. In connection with the comparative context, the familiarity of Meštrović’s French critical fortune is expanded, that is, the reception of his participation at the most important exhibitions of the time in 1908 and 1909 (Salon d’Automne, Salon de la Société nationale des beaux-arts). The transition from rejection of the classical tradition to invocation of it, from the development of the lexis of (monumental) archaism to (monumental) neo-classicism is observed through a comparison with French sculptors, with Auguste Rodin, Antoine Bourdelle and Aristide Maillol, who had defined the relation of modern sculpture and Ancient and Renaissance art. Here Rodin’s invention of fragmentary sculpture and assemblage needs particularly to be picked out and attention drawn to the fact that Meštrović was the first Croatian sculptor to employ it. One result of the research into the problem was the introduction of the concept of utopian sculpture. It is derived from the conceptual and historical repercussions of the architecture of the sculpture of the Parthenon on European sculpture of the end of the 19th and the first half of the 20th century. The concept is interpreted with use of the St Vitus Day Temple (1908–1912) and, pursuant to the stylistic and ideological similarities, it is expanded to several other contemporary examples, mainly of Czech and French artists. The temple itself, and the Kosovo Cycle and the Prince Marko Cycle that belong to it, are described in detail and analysed in order to be able to distinguish the finer features of the appropriation of Ancient sculptural and architectural motifs, elements and symbolic meanings. The second decade of the last century was marked by the sculptor’s consideration of Ancient iconographic templates (Venera pudica) and motifs (women dancing) that enabled Meštrović to develop the theme of the female nude further. He also went on pondering the male nude in two directions – the archaic, heroic monumentalism (the monument Victor, Belgrade, 1913) and the anti-hero (for example, Pensive Youth, London, 1915). Subsequently in the thesis through all the periods and within all the units, there is a continued interpretation of reliefs and medals that prove to be particularly suitable for the depiction of the adoption of classical formal patterns, and for the reception of the then current stylistic tendencies (modernism). In the interwar Zagreb period (1922–1942), the classical component can be identified as the main determinant of the style, as the style itself, then (Neoclassicism). This stylistic tendency is perceptible in the monumental sculptural and architectural productions, which reflect the idea of power and stability, for which an ideal framework can be found in elements taken from Antiquity, the Renaissance and Neoclassicism. In the design of the nudes and works of religious topics, Meštrović often resorts to the repertoire of forms and themes that were established by Michelangelo. The focus of the research is on the importance of the sculptural workshop, its role in the transmission of knowledge, skills and the return to the sources of classical, Mediterranean culture. In the case of Meštrović, the problem of workshop is seen through the short-lasting workshops organised for the purpose of his monumental and architectural projects, then through the activity and formation of young sculptors in his studios, and through the organisation and reform of teaching at the Academy of Fine Arts in Zagreb, where he was president and professor. The characteristics of the phenomenon identified as “the return to order” correspond with the thesis of anti-modernism, which he programmatically formulated in essays about Michelangelo (Ivan Meštrović, “Michelangelo (an introduction to a study)” of 1926; Ivan Meštrović Conversations with Michelangelo, 2007; Ivan Meštrović, Michelangelo – essays of an artist about an artist, 2010) and embodied in his own works, which were supposed to be a model for the younger generation of artists and avert them from the destructive influences of the avant-garde. In these essays, he joined the string of French artists who in a similar way had engaged with the Italian sculptor (Rodin, Émile Bernard). It should be pointed out that antimodernism is not necessarily not-modern, that is, outside the currents of the time in which it came into being, which, among other things, is confirmed by Meštrović’s sensitivity to current artistic and political circumstances. In the context of Meštrović ’s reception of Michelangelo, it should be pointed out that in this thesis for the first time his long-lasting engagement with the theme of Moses (1915– 1952) and with portraits of Michelangelo, done in the media of sculpture and drawing is analysed and presented as a whole for the first time. In this part of the thesis, there is discussion of Meštrović’s monumental and architectural oeuvre, to which a particular quantitative impetus was imparted in the third and fourth decades of the century, during which Meštrović won his place as the main state sculptor of the Kingdom of the Serbs, Croats and Slovenes, later known as the Kingdom of Yugoslavia. Because of the closeness with political circles (with, for example, the Karađorđević and Masaryk families) and thanks to the success of his international exhibitions he had a large number of commissions for public sculpture in Croatia, other parts of Yugoslavia and in Europe, the USA and South America, Since these projects have been discussed in previous researches, the objective of the current investigation was to establish the typological development (the equestrian monument, for example, the motif of the winged goddess of victory, Nike) and his correlation with the classical tradition (for example, derivations of the architectural vocabulary of the ancient world, the variation of the ancient structure of temple and its adjustment to contemporary needs of a public and a personal purpose). Still, the dissertation includes some unknown facts and material related to the Speer Memorial of Denver, which was never brought to fruition (1934). The discussion is expanded to Croatian and European (Czech and Latvian) production of monuments, by the consideration of the influence of Meštrović’s public sculpture on the formation of the following generation of Croatian and Slovene sculptors (the defining of the Zagreb Sculpture School) and on the reception of Neoclassicism and monumentalism in the public sculpture of central and northern Europe. The last period of Meštrović’s life and work in Rome, Switzerland and the USA (1942– 1962) is seen as a recapitulation of the experience garnered up to that time. Stylistic derivations are recognised as mature Expressionism, realism and self-referential Neoclassicism. The latter inclination is a confirmation of the long duration of the classical tradition that is sketched out in the thematic stratum (mythology, religion) and in compositional self-referential and referential (Michelangelo, Rodin, Bourdelle) figurativeness. The interpretation is expanded to the phenomenon of eclecticism, that is, of the eclecticism of the pastiche, of eclectic monumentalism, which is attributed in this dissertation above all to his architectural designs (the Njegoš Mausoleum at Lovćen, 1924–1974) and to his sculptural productions in all periods. An eclectic approach to the tradition and to his own artistic past is the authentic expression of this artist. Accordingly, he is both polyvalent and complex (the opposition of modernism and anti-modernism) and is not comparable to other Croatian and European sculptors and architects. The thesis also introduces some little known (for instance, two sculptures on the topic of the slave of 1903) or completely unknown productions (for example, the drawing Source of Courage, 1906 (?) published in the journal Český svět in 1909). From the beginning of his career, from his days as a student in Vienna, right until the last, the American, period, it is possible to recognise and track, with complete clarity, the artist’s specific manner of referring to and reinterpreting classical (mythological, for example) subjects, as well as approaches to form and composition (for example, the different versions of the depiction of Aphrodite or Venus – Venera pudica, Aphrodite, Anadyomene and so on), from sources in Antiquity, which necessarily include not only Greek and Roman but also other ancient world traditions, as well as from the Renaissance and Neoclassicism. Hence this research too was oriented to the chronological coverage of stylistic appropriations of classical motifs, through all the phases of the artist’s work, Nevertheless, sometimes, for the sake of comprehensiveness and readability, a given subject will be covered together in a sub-chapter with productions from different periods (for example, the theme of Domagoj’s Archers, Venera Pudica, Moses, Pietà, the historical origins of memorial architecture and so on). Finally, although most of the works from the periods mentioned are universally known and have been presented in previous interpretations, until this research they were not discussed in a single place and contextualised through stylistic treatment and categorisation that covers stylistic and thematic formation, from ancient sources up to Neoclassicism. The research was founded mainly on works and documents kept in the Ivan Meštrović Museums (Meštrović Atelier in Zagreb, Meštrović Gallery in Split) but also on those to be found in other domestic and foreign museums, libraries, state and private archives. Prior research was crucial – that devoted to Ivan Meštrović, anti-modernism and that addressing the international context. Meštrović’s writings about Michelangelo, the publications he possessed, his collection of photographs and reproductions of Ancient and Renaissance art and architecture tell of his continued and dedicated study of historical periods, the lessons of which he deliberately incorporated into his own productions and adjusted to the current moment and visual style. This thesis shows that Meštrović’s classical, multi-faceted identity is a key determinant of his creative work, which cannot without it be interpreted integrally and contextualised within the framework of modern Croatian and European sculpture. Iako su rad i život Ivana Meštrovića (1883.–1962.) predmet brojnih izučavanja, klasična komponenta njegova stvaralaštva nije do sada bila protumačena i objedinjena. Ona se formalno i tematski prepoznaje u svim segmentima njegova umjetničkog, arhitektonskog, pedagoškog i esejističkog djelovanja, te se analizira u tri glavne cjeline, koje vremenski obuhvaćaju prva dva desetljeća 20. stoljeća, međuratno razdoblje i poslijeratnu fazu. Jedan je od rezultata istraživanja, koji se odnosi na prvu cjelinu, uvođenje pojma utopijske skulpture, izlučenog iz konceptualne i povijesne reperkusije Partenona na europsku skulpturu kraja 19. i prve polovice 20. stoljeća. On se tumači na primjeru Vidovdanskoga hrama. Francuski kipari pružaju glavni komparativni materijal na temelju kojeg se uočava Meštrovićeva transgresija od prihvaćanja načela fragmentarne skulpture i asamblaža, arhajskoga monumentalizma i neoklasicizma. U međuratnom razdoblju klasična komponenta prepoznaje se kao stil sâm (neoklasicizam). On je zamjetan na monumentalnim skulptorskim i arhitektonskim djelima, koja održavaju ideje moći i stabilnosti. Razdoblje „povratka redu“ korespondira s tezama antimodernizma, programatski formuliranima u esejima o Michelangelu Buonarrotiju. Posljednje razdoblje shvaća se kao rekapitulacija stečenog iskustva, iskazanog kroz zreli ekspresionizam, realizam, autoreferencijalni neoklasicizam i pastišni eklekticizam ili eklektički monumentalizam. Eklektički pristup tradiciji autentičan je umjetnikov iskaz; taj iskaz je kompleksan (opreka modernizam – antimodernizam) i neusporediv s drugim hrvatskim i europskim kiparima i arhitektima. Meštrovićev se klasični, mnogofasetni identitet potvrđuje kao ključna odrednica njegova opusa, bez koje ga je nemoguće cjelovito interpretirati i kontekstualizirati u okviru modernoga hrvatskog i europskog kiparstva. Iako je većina ostvarenja općepoznata, ona do ovog istraživanja nisu bila cjelovito objedinjena kroz kategorizaciju, koja sagledava stilsko i tematsko formiranje – od antičkih uzora do neoklasicizma.

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    Authors: Mlinarec, Jurica;

    The thesis deals with the research of the boundaries of the human body through the phenomena of cyborgization and hybridization of embodiment in interdisciplinary contemporary artistic practices after the nineties of the 20th century. The theoretical framework for reading these practices is largely informed by the posthumanist thoughts of authors such as Donna Haraway, Cary Wolfe, Katherine Hayles and Rosa Braidotti, according to whom the human body is an open system, in constant communication with its immediate environment - natural or artificial, and man is removed from his the central position. Although hybrid entities are not a phenomenon of modern society, the development of science and technology has significantly influenced the research of new forms of embodiment and the limits of the human subject. The appearance of a cybernetic organism (cyborg) implies the extension of the human body by means of technology, motivated by correcting the obsolescence of the human body, enhancing bodily experiences, or creating new forms of technologically mediated bodily abilities. Donna Haraway's extended understanding of the cyborg as an emancipatory strategy, as an entity that subverts not only the dichotomy of nature and technology, but also a number of other dualisms that have shaped the Western tradition, cyborgized bodies are also found in artistic projects that explore forms of new corporeality as sites of interspecies encounters as well as territory which can be transformed by blurring the lines between human and non-human. Finally, the issue of disembodiment, i.e. generating new bodies in digital and virtual space, is taken as a significant concept, exploring artists who created new subjects in the form of avatars and new boundaries of corporeality by utilising technologies such as virtual reality (VR). Diplomski se rad bavi istraživanjima granica ljudskog tijela kroz fenomene kiborgizacije i hibridizacije tjelesnosti u interdisciplinarnim suvremenim umjetničkim praksama nakon devedesetih godina 20. stoljeća. Teorijski okvir iščitavanja ovih praksi uvelike je informiran posthumanističkom misli autora poput Donne Haraway, Caryja Wolfea, Katherine Hayles i Rosi Braidotti, prema kojima je ljudsko tijelo otvoren sustav, u stalnoj komunikaciji sa svojom neposrednom okolinom - prirodnom ili umjetnom, a čovjek izmješten iz svoje središnje pozicije. Iako hibridni entiteti nisu pojava suvremenog društva, razvoj znanosti i tehnologije značajno je utjecao na istraživanje novih oblika tjelesnosti i granica ljudskog subjekta. Pojava kibernetskog organizma (kiborga) podrazumijeva esktenziju ljudskog tijela pomoću tehnologije, motivirano ispravljanjem zastarjelosti ljudskog tijela, amplifikacije tjelesnih iskustava ili pak stvaranjem novih oblika tehnološki posredovanih tjelesnih sposobnosti. Proširenjem shvaćanja kiborga Donne Haraway kao emancipatorske strategije, kao entiteta koji ruši ne samo dihotomiju prirode i tehnologije, već i niz drugih dualizama koji su oblikovali zapadnu tradiciju, kiborgizirana tijela pronalaze se i u umjetničkim projektima koji istražuju oblike novih tjelesnosti kao mjesta međuvrsnih susreta kao i teritorij koji je moguće transformirati zamagljujući granice između ljudskog i ne-ljudskog. Naposljetku, kao značajan pojam uzima se pitanje bestjelesnosti, odnosno generiranja novih tijela u digitalnom i virtualnom prostoru, istražujući umjetnike koji su stvarali nove subjekte u formi avatara i nove granice tjelesnosti korištenjem tehnologije poput virtualne stvarnosti (VR).

    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao ODRAZ - Open Reposit...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Šakić, Sanja;

    The dissertation analyses the prose work of the contemporary Serbian writer David Albahari starting from the thesis that his oeuvre reveals doubt in any discursively based reality, regardless of the socio-political actuality. We observe that the problem relation between history and literature as narrative discourses presents a poetical and content-related continuity at the level of the oeuvre and that the representation and favouring of historical, political, cultural and social topics in the critical reception is a product of the reader’s time configuration and not of the meaning which explicitly and clearly arises from the literary text. The research proceeds by considering the doubt in occupying the real and the factual with language and thus focuses on analysing the narrator’s language activity, narrative identity and plot based on Paul Ricoeur’s hermeneutical theory of narration, its critical stance towards the structuralist analysis and the concept of identity as a dynamic and incomplete coming-into-being. Favouring and interpreting the pronounced metafictional dimension of Albahari’s literary texts show that their referential dimension is systematically brought into question and that this subversive strategy is a precondition to narration understood as a creative activity and a precondition to reading understood as a re-creation of a text. The dissertation proposes a new reading of Albahari’s oeuvre through the formation of a literarytheoretical framework which should synthesize the poetical and content-related preoccupations of literary texts and the consideration of the relation between literature and historiography as narrative discourses, placing at its centre the reading which articulates and concretizes the story. The proposed reading is expected to contribute to a substantial and systematic insight into the prose work of David Albahari, as well as to the critical evaluation of its poetic continuity in relation to the corresponding literary phenomena in modern literature. Rad se bavi prozom suvremenog srpskog pisca Davida Albaharija polazeći od teze da se u njegovu opusu očitava sumnja u svaku diskurzivno utemeljenu stvarnost, neovisna o sociopolitičkoj zbilji. Uočava se da problemski odnos historije i književnosti kao pripovjednih diskursa predstavlja poetički i sadržajni kontinuitet na razini opusa, te da je zastupljenost i privilegiranje historijskih, političkih, kulturoloških i socijalnih tema u kritičkoj recepciji produkt čitateljske konfiguracije vremena, a ne značenja koje eksplicitno i jasno proizlazi iz književnoga teksta. Istraživanje se kreće putem razmatranja sumnje u zaposjedanje realnog i faktografskog jezikom, pa je usmjereno na ispitivanje jezične djelatnosti pripovjedača, pripovjednog identiteta i zapleta zasnovano na hermeneutičkoj teoriji pripovijedanja Paula Ricoeura, njezinu kritičkom odnosu spram strukturalističke analize i konceptu identiteta kao dinamičnog i nedovršenog postajanja. Privilegiranje i tumačenje izražene metafikcionalne dimenzije Albaharijevih književnih tekstova pokazuje da se njihova referencijalna dimenzija sustavno dovodi u pitanje, te da je ova subverzivna strategija preduvjet pripovijedanju shvaćenom kao kreativna djelatnost i preduvjet čitanju shvaćenom kao ponovno osmišljavanje teksta. Rad predlaže novo čitanje Albaharijeva opusa formiranjem književnoteorijskog okvira kojim sintetizira poetičke i sadržajne preokupacije književnih tekstova s razmatranjem odnosa književnosti i historiografije kao pripovjednih diskursa, postavljajući u svoje središte čitanje koje artikulira i konkretizira priču. Od predloženog čitanja očekuje se da doprinese kvalitetnom i sustavnom uvidu u prozu Davida Albaharija, te kritičkom sagledavanju njezina poetičkog kontinuiteta u odnosu prema sukladnim književnim pojavama u modernoj književnosti.

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    Authors: Barić, Ivana;

    The topic of the thesis is the public sculpture in Karlovac of the 20th century. All free-standing public sculptures are included, excluding tombstones. The paper provides a catalog overview of public sculpture through the 20th century. The sculptures were analyzed in the context of cultural and political circumstances, so their division is conditioned by the mentioned. Due to the cultural and political turmoil over the century, public sculptures were erected, removed, or devastated. The century begins with the work of the great Croatian sculptor Ivan Rendić, but the entire first half of the century is quantitatively impoverished and includes only two works. The second half of the century is divided into units that include the monumental heritage of the People's Liberation War, new curatorial practices from the 1960s and 1970s including modernist sculpture, and finally, the local art scene gathered around the Association of Amateur Artists of Karlovac in the 1990s. The sculpture of the People's Liberation War is marked by regime iconography, socialistic realism, and hyper-production of sculptures of monumental characters. New curatorial practices of the 1960s include the Koranski park skulptura event and the work of the Fund „13. srpanj“, which is credited with the largest orders in the second half of the century. The Fund „13. srpanj“ brings to Karlovac the Sun of Ivan Kožarić, the Mother in Thinking by Ivan Meštrović, and the First Steps of Frano Kršinić. At the end of the century, amateur artists gathered around the Udruga likovnih autora Karlovac dominated, enriching the city with a series of wooden sculptures in their naive manners. The work explores the stratification of the meaning and understanding of individual works. Historical-artistic analysis stands out most in the analysis of modernist sculpture by important authors of the 20th century. The paper also provides a critical review of the attitude of the public, citizens of the city of Karlovac, cultural institutions, and public policies towards art in public space. Tema diplomskog rada je karlovačka javna skulptura 20. stoljeća. Obuhvaćena je sva samostojeća javna plastika izuzev nadgrobnih spomenika. Rad donosi kataloški pregled javne skulpture kroz 20. stoljeće. Skulpture su analizirane u kontekstu kulturno-političkih prilika koje uvjetuju njihovu podjelu. Stoljeće započinje radom velikog hrvatskog kipara Ivana Rendića, a cijela prva polovica stoljeća kvantitativno je siromašnija u odnosu na drugu te obuhvaća svega dva djela. Druga polovica stoljeća podijeljena je na cjeline koje uključuju spomeničku baštinu Narodno-oslobodilačke borbe (socijalni realizam), novih umjetničkih praksi iz 1960-ih (socijalni modernizam), lokalnu scenu okupljenu oko Udruženja likovnih amatera Karlovca te razdoblje 1980-ih i 1990-ih. Skulpturu NOB-a obilježava režimska ikonografija, socijalni realizam i hiperprodukcija memorijalne plastike. Nove umjetničke prakse 1960-ih obuhvaćaju manifestaciju Koranski park skulptura te djelovanje Fonda „13. srpanj“ koji je zaslužan za najveće narudžbe u drugoj polovici stoljeća. Fond 13. srpanj otkupio je djela Prizemljeno Sunce Ivana Kožarića, Majku u razmišljanju Ivana Meštrovića i dr. Krajem stoljeća dominiraju likovni umjetnici amateri okupljeni oko Udruge likovnih autora Karlovac koji u svojim naivnim manirama obogaćuju grad za niz drvenih skulptura. Rad istražuje slojevitost značenja i poimanja pojedinačnih djela. Povijesno-umjetnička analiza ponajviše se ističe u promatranju selekcije skulpture važnih autora 20. stoljeća. Kroz rad se proteže i kritički osvrt na odnos publike, građana i građanki grada Karlovca, kulturnih institucija i javnih politika prema umjetnosti u javnom prostoru.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
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