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Završni rad se fokusira na detaljno pojašnjavanje povijesti razvoja nogometa i same nogometne lopte. Nogomet je nastao tri stoljeća prije Krista, ali nogomet kakav mi danas poznajemo nastao je 1863. godine u Engleskoj pri formiranju Football Association (FA), koja je bila prva svjetska organizacija koja je upravljala nogometom i donosila pravila slična onim koje imamo i danas. U radu je također objašnjena i povijest i razvoj nogometa u Republici Hrvatskoj. Hrvatska nije zaostajala za drugim zemljama pa je tako već 1873. godine u Rijeci odigrana prva nogometna utakmica na inicijativu Roberta Whiteheada. Ovu prvu nogometnu utakmicu u Hrvatskoj su odigrale ekipe sastavljenje od djelatnika Mađarskih željeznica s jedne i engleskih radnika s druge strane. Kada promatramo povijesni nastanak nogometne lopte, onda razlikujemo dvije etape razvoja. Prvu etapu čini period do 1863. godine, kojega označavaju razne igre s loptom, te period od 1863. godine kada se nogomet odvojio od ragbija i počeo samostalno razvijati. Igre s loptom prvi puta su opisane kod Kineza gdje je lopta bila od kože napunjena perjem. Nogometni sustavi su se razvijali postepeno te je u radu kronološki predstavljeno 14 nogometnih sustava kako su nastajali.

The final paper shows the history of basketball in Slavonski Brod. Basketball in Slavonski Brod has a 76 - year history. It began to be played in an organized manner in 1946 when the Crvena zvijezda basketball team was founded as part of the sports association. Through history team changes names: Crvena Zvijezda, Proleter, BSK, Radnički, Oriolik, Oriolik Jasinje, Svjetlost Oriolik, Svjetlost Brod, Svjetlost, Đuro Đaković and Slavonski Brod. Also this work presents the history of women's basketball, which began to be played in 1948 as part of the sports team Crvena Zvijezda. After that the women's basketball team changed its names: Rade Končar, Slavonski Brod 1244 and Brod. This work is divided into two parts: the beginnings of playing basketball in Slavonski Brod through periods in Yugoslavia and the period of playing basketball in the Republic of Croatia. All the years since the beginning of playing basketball in Slavonski Brod from 1946 until today are presented chronologically. The most significant successes and results as well as the most successful players and coaches are listed. Over the years, various changes have taken place, from good placements to relegation from the league and again returning to the highest rank of the competition. Slavonski Brod’s basketball has a rich tradition and it was the basketball’s center of Slavonia throughout history and it had an important role in the Croatian basketball’s map. Završni rad prikazuje košarkašku povijest grada Slavonskoga Broda. Košarka u Slavonskom Brodu ima sedamdeset šestogodišnju povijest. Ona se organizirano počela igrati 1946. godine kada je osnovan košarkaški klub Crvena zvijezda u sklopu športskog društva. Klub kroz povijest mijenja imena: Crvena zvijezda, Proleter, BSK, Radnički, Oriolik, Oriolik Jasinje, Svjetlost Oriolik, Svjetlost Brod, Svjetlost, Đuro Đaković i Slavonski Brod. U radu je i prikazana povijest ženske košarke koja se počela igrati 1948. u sklopu športskog društva Crvena zvijezda. Poslije je ženski košarkaški klub mijenjao imena: Rade Končar, Slavonski Brod 1244 i Brod. Rad je podijeljen u dva dijela: počeci igranja košarke u Slavonskom Brodu kroz razdoblja u Jugoslaviji i razdoblje igranja košarke u Republici Hrvatskoj. Kronološki su prikazane sve godine od početka igranja košarke u Slavonskom Brodu od 1946. godine do današnjice. Navedeni su najznačajniji uspjesi i rezultati kao i najuspješniji igrači i treneri. Kroz godine događale su se različite promjene od dobrih plasmana pa do ispadanja iz lige i opet vraćanja u najviši rang natjecanja. Slavonskobrodska košarka ima bogatu tradiciju te je kroz povijest bila košarkaški centar Slavonije i imala je važnu ulogu u košarkaškoj karti Hrvatske.

Skripta za kolegij Kiparstvo 2 na Diplomskom studiju Odsjeka kiparstvo Umjetničke akademije u Splitu nastavlja se na skriptu za kolegij iz prethodnog semestra, Kiparstvo 1. Petnaest nastavnih jedinica nižu se slijedom sukladnim realnoj kiparskoj praksi, što predstavlja važno iskustvo za studente, osobito u kolegiju Kiparstvo 2 koji nastavno na prethodni kolegij omogućuje studentima daljnje razvijanje znanja i iskustva. Mogućnost percepcije i artikulacije novih sadržaja je jedan od najvažnijih aspekata razvoja procesa autorskog rada. Naglasak je na njegovoj otvorenosti i unaprjeđivanju, kao nadogradnji znanja iz prethodnog semestra. Kroz čitavu skriptu se utvrđuje osnovna struktura stvaralačkog procesa, no sada na zahtjevnijoj razini. Pažnja posvećena likovnom jeziku, kao temeljnom i objedinjujućem aspektu rada, u ovom semestru je dodatno naglašena i prezentirana nizom odabranih vizualnih primjera, kao i primjera citata autora koji se mogu tumačiti kao temelji izjave o radu. Skripta olakšava studentima ostvarivanje očekivanih ishoda učenja, odnosno osvješćivanje potpunog procesa realizacije suvremene autorske skulpture, od osmišljavanja ideje do izvedbe rada i promišljanja njegova postava u prostoru. The script for the course Sculpture 2 at the Graduate Study of the Department of Sculpture of the Art Academy in Split continues on the script for the course Sculpture 1 from the previous semester. Fifteen teaching units are arranged in sequences consistent with real sculptural practice. The possibility of perception and articulation of new content is one of the most important aspects of the development of the author's work process. The emphasis is on its openness and improvement, as an upgrade of knowledge from the previous semester. Throughout the script, the basic structure of the creative process is determined, but now at a more demanding level. The attention paid to the language of art, as a fundamental and unifying aspect of the work, this semester is further emphasized and presented by a series of selected visual examples, as well as examples of quotations from authors that can be interpreted as the basis of the artist’s statement. The script makes it easier for students to achieve the expected learning outcomes, i.e. awareness of the full process of realization of contemporary author's sculpture, from conceiving an idea to performing the work, and thinking about its layout in exhibition space.

Sadržaj skripte dosljedno prati nastavni program te je koncipiran je u četiri faze i u petnaest nastavnih jedinica koje su u skripti opširno elaborirane objašnjenjima i primjerima. Kroz nijh student prolazi kroz sve etape konceptualizacije, realizacije i predstavljanja kiparskog djela, u čemu mu skripta služi kao temeljna literatura. Skripta objašnjava cilj i zadatak svake nastavne jedinice, elaborirajući temu kroz niz odabranih primjera umjetničkih djela hrvatskih i inozemnih kipara. Putem ovih primjera dodatno se razlažu umjetnički i tehnološki problemi s kojima se sreću studenti u svome radu: pojašnjavaju se različiti tipovi umjetničkih tema u rasponu od klasičnih tema do konceptualnih i autoreferencijalnih, načini njihove likovne interpretacije, odnos kiparskog medija prema kategorijama prostora i vremena, različite vrste umjetničke motivacije pri izboru teme, različita konotacijska značenja pojedinih materijala, aspekti izvedbe u pojedinim materijalima i slično. Pomoću skripte student može lakše pratiti sadržaje kolegija te se na nju osloniti pri promišljanju i planiranju vlastitog rada, razvoju individualnog stila i percepciji vlastite autorske pozicije s nesputanim tretmanom ideja i jasnom interpretacijom koncepata. The content of the script consistently follows the curriculum. It is conceived in four phases and in fifteen teaching units, which are extensively elaborated in the script with explanations and examples. Through them, the student goes through all stages of conceptualization, realization and presentation of a sculptural work, in which the script serves as the basic literature. The script explains the goal and task of each teaching unit, elaborating the topic through a series of selected examples of works of art by Croatian and foreign sculptors. These examples further explain the artistic and technological problems that students face in their work: they explain different types of artistic themes ranging from classical to conceptual and self-referential, ways of their artistic interpretation, the relationship of sculpture to categories of space and time, different types of artistic motivation in choosing a topic, different connotational meanings of certain materials, aspects of performance in certain materials etc. With the help of the script, the students can more easily follow the contents of the course and rely on it when thinking and planning their own work, developing individual style and perception of their own position with unfettered treatment of ideas and clear interpretation of concepts.

Kulturna baština predstavlja povijest naroda. DogaĎaji i način ţivota te običaji i drugi segmenti na koje je utjecao čovjek na odreĎenom području definiraju indentitet svake zajednice. Proučavanjem nasljeĎene baštine upoznajemo sebe i stvaramo sliku o svim materijalnim i nematerijalnim vrijednostima koje su posjedovali naši preci. Danas kulturu karakterizira puno više od samog učenja svog nasljeĎa. Pravilno upravljanje, valorizacija, revitalizacija, zaštita i drugi postupci omogućuju da se kulturna dobra sačuvaju i prepoznaju kao vrijednosti od iznimne vaţnosti. Na osnovi takvih atraktivnosti je i nastao kulturni turizam koji ima sve veţu vaţnost u Republici Hrvatskoj kao jedan od najznačajnijih selektivnih oblika turizma. Da bi se dugoročno i kvalitetno kulturna baština sačuvala osnovne su organizacije koje imaju za cilj očuvanje kulturnih dobara diljem svijeta od kojih je UNESCO svakoako najznačajnija organizacija. Baština koja je pod ingerencijom navedene organizacije spada u najvrijednija svjetska kulturna dostignuća. Republika Hrvatska koja je prostorno mala drţava ima iznimnu nasljeĎenu baštinu te sve više se ista prepoznaje kao potencijal budućeg turističkog razvoja. Uz pomoć EU fondova i jasnim smjernicama te projektima nadleţnih tijela vlasti u cilju kvalitetnog očuvanja i upravljanja istom napravljeni su veliki pomaci. Cilj ovog rada je upoznati se s hrvatskom kulturnom baštinom te ukazati na njenu vrijednost. Valorizacija, pravilno upravljanje i aktivno odrţavanje kulturnih dobara vrlo su bitni čimbenici koji sluţe kao uporište za stvaranje konkurentnih prednosti te ističu vaţnost baštine stvarane tijekom povijesti jer ona pokriva mnogo aspekata ţivota zajednice, kako prošlih tako i sadašnjih. Valoriziranje kulturne baštine moţe se postići na mnoge načine, a svi imaju za cilj povećanje atraktivnosti destinacije što je vaţno za razvoj u ekonomskom, turističkom, kulturnom, socijalnom i ekološkom smislu. Cultural heritage represents the history of nations. Events, way of life, customs and other segments influenced by man in a particular area defined the characteristics of the community. By studying inherited heritage we get to know ourselves and create a picture of all the tangible and intangible values that our ancestors visited. Today’s culture is characterized by much more than just learning its history. Proper management, valorization, revitalization, protection and other procedures enable cultural goods to be preserved and recognized as values of exceptional importance. Over time, cultural tourism has emerged as well as many other results that affect the growth and development of the entire community. In order to preserve long-term and quality cultural heritage, established organizations representing cultural good awareness, of which UNESCO is one of them. The heritage that mentioned the organization is on the list of the world’s most valuable cultural achievements. Croatia, which is a spatially small country, has a number of inherited heritage in which the potential future development is increasingly recognized. With the help of EU funds and a clear vision of the development of culture and all its forces, we will be the same as a great competitive other state. The aim of this paper was to get acquainted with the Croatian cultural heritage and point out its value. Valorisation, proper management and active maintenance of cultural assets are very important factors that serve as a bulwark for great competitive performance and emphasize the importance of heritage created throughout history as it has covered many aspect s of people’s lives, both past and present. The valorisation of cultural heritage can be achieved in many ways, and all aim to increase the attractiveness of the destination which is important for development in economic, tourist, cultural, social and environmental terms.

Term heritage includes natural and cultural assets of internationally recognized outstanding and universal value. The UNESCO World Cultural and Natural Heritage List includes ten cultural assets in the Republic of Croatia. Of these, seven are in Dalmatia: the Cathedral of St. Jakov in Šibenik, the defense systems of the Venetian Republic of the 16th and 17th centuries in Zadar and Šibenik, Diocletian's Palace in Split, the Old Town of Trogir, Stari Grad Plain on Hvar, the Old Town of Dubrovnik and stećci- tombstones and medieval cemeteries in Cista Provo and Konavle. The most visited material cultural heritage, which is under the protection of UNESCO is also the most endangered, due to the overload of the site in the short time. But the future brings people counters that will provide an adequate number of visitors per day. Awareness of the values of cultural goods among the local population is not sufficiently developed, which can be seen through the results of a survey in which most respondents are aware of their lack of interest in preserving cultural heritage, which is a major problem in further progress in preserving material cultural heritage. There is a lack of political will as well as insufficient investments. Conservators and experts caring for cultural assets are insufficiently connected with representatives of local authorities and the tourism sector, which has the greatest impact on the devastation of cultural heritage in Dalmatia. Pojam baština obuhvaća prirodna i kulturna dobra međunarodno priznate izvanredne i univerzalne vrijednosti. Na UNESCO-ovom Popisu svjetske kulturne i prirodne baštine nalazi se i deset kulturnih dobara u Republici Hrvatskoj. Od toga ih je sedam u Dalmaciji: katedrala sv. Jakova u Šibeniku, obrambeni sustavi Republike Venecije 16. i 17. stoljeća u Zadru i Šibeniku, Dioklecijanova palača u Splitu, Stari grad Trogir, Starogradsko polje na Hvaru, Stari grad Dubrovnik te stećci, odnosno srednjovjekovna groblja nadgrobnih spomenika u Cisti Provo i Konavlima. Najposjećenija materijalna kulturna baština koja je pod zaštitom UNESCO-a najviše je ugrožena zbog preopterećenosti lokaliteta u kratkom roku. No budućnost donosi brojače ljudi koji će osigurati adekvatan broj posjetitelja po danu. Sama svijest o vrijednostima kulturnih dobara među lokalnim stanovništvom nije dovoljno razvijena, što možemo vidjeti kroz rezultate anketnog istraživanja u kojem je većina ispitanika svjesna svoje nezainteresiranosti za očuvanje kulturne baštine što je glavni problem u daljnjem napretku očuvanja materijalne kulturne baštine. Nedostaje i političke volje kao i adekvatna količina ulaganja. Nedovoljno su povezani konzervatori i stručnjaci koji brinu o kulturnim dobrima s predstavnicima lokalnih vlasti i turistički sektor koji najviše utječe na devastaciju kulturne baštine u Dalmaciji.

This article discusses the status of Toni Morrison as an American writer who consistently foregrounded African American history and experience and acted during her long career as a public intellectual. Morrison’s writerly agenda has been to delve into the epistemological origin of constructions such as race and blackness, placed in the context of their historical manifestation, such as transatlantic slavery as manifested in Morrison’s two most striking historical novels, Beloved (1987) and A Mercy (2008). Writing slavery, as a way to re-write the United States’ history and probe its dark spaces, places Morrison’s texts in a long line of nineteenth-century slave narratives, and in particular their twentieth-century avatar, the neo-slave novel, which strives to historicize slavery from the sufferer’s perspective. In the process, Morrison creates a “resistant text” (Sommer) requiring the reader’s imaginative and ethical engagement and refusing to fill in all the gaps. That the haunting of slavery still requires imaginative, historical, and ethical engagement, like the one accorded it by Morrison, is a fact of U.S. American social life to the present day.

Starting from Timothy Bahti’s claim that “literary studies in the university are still the heir to the historicism after Hegel,” readily verified by sundry historically organised takes on literary criticism and theory steadily advancing towards the present moment of comprehension, even as the true sources of the thought of the authors under scru-tiny as well as of the actual origins of critical problems are unfailingly revealed to stem from the “real world,” the paper aims to present T.S. Eliot’s very different thinking about literature, criticism and history as a salubrious contravention of the worldwide dominance of approaches to reading works of literature predicated on unexamined notions of context and identity, which Timothy Clark dubbed “institutional Ameri-canism,” contending that it is no accident that the final thesis advanced by the histo-rian Elco Runia in his recent Moved by the Past, which proposes a complete overhaul of certain certainties on which how we conceive of the past is predicated, should have a distinctly Eliotic ring to it: “By burying the dead we create not our future, but our past.”

Aim. To explore personal biography of Vinko Frančišković (1919-1984), to improve the understanding of the beginnings of Croatian cardiothoracic and transplantation surgery. Methods. Comparative critical analysis of written published materials, archival materials and information collected through oral history interviews. Results. Vinko Serafin Frančišković was born in Praputnjak, a settlement of the eastern surroundings of Rijeka, Croatia. He was raised up in the Italian language and culture by hisaunt, a mother’s sister and her husband. He went to the Royal Classical Grammar School Giovanni Prati in Trento. On July 15, 1943, he defended his thesis, titled A contribution to the surgical therapy of fractures of the femoral neck at the Faculty of Medicine, University of Padua. Conclusion. The represented data about Vinko Frančišković’s life, especially those concerning his secondary and higher education, explain some of his crucial personal traits and his later professional pathway. Cilj. Istražiti osobnu biografiju Vinka Frančiškovića (1919. – 1984.) čime će se omogućiti bolje razumijevanje početaka hrvatske kardiotorakalne i transplantacijske kirurgije. Metode. Kritička komparativna analiza objavljenih publikacija, arhivskih materijala i informacija prikupljenih metodom usmene povijesti. Rezultati. Vinko Serafin Frančišković rođen je u Praputnjaku, naselju u istočnoj okolici grada Rijeke. Odgajan na talijanskom jeziku i kulturi, u obitelji majčine sestre i njezina supruga, pohađao je Kraljevsku klasičnu gimnaziju Giovanni Prati u Trentu. Dana 15. srpnja 1943. na Medicinskom fakultetu Sveučilišta u Padovi obranio je diplomski rad o doprinosu kirurškoj terapiji fraktura femoralnog vrata. Zaključak. Prikazani podaci o životu Vinka Frančiškovića, posebice oni koji se odnose na njegovo srednjoškolsko i visoko obrazovanje, objašnjavaju neke od njegovih ključnih osobina i kasniji profesionalni put.

In this essay I offer a reflection on a conspicuous absence in digital humanities dis-course. Engaging with the manifold ways in which the digital sphere shapes culture and society, the interests and methods of digital humanities appear indispensable in contemporary academia. However, it is my contention that digital humanities sys-tematically omits dealing with the ways in which issues of technology converge with our labor in humanities today. Viewed in the context of an increasing adaptation of research and higher education to the market form, this disciplinary blind spot reveals technological instrumentality as a structuring principle of both digital humanities and its institutional setting, the “university of excellence.”