Search results

Glazba kakva se njegovala u ranijoj prošlosti prvog europskog komunalnog kazališta, Teotra forskega – u vremenu od njegova osnutka 1612. do privremenog zatvaranja 1888. (radi obnove dovršene dvanaest godina poslije) – do danas je ostala potpuno nepoznatim aspektom kulturne povijesti grada Hvara. Rasvjetljavanje ondašnje prakse i uloge javnog, svjetovnog muziciranja uvelike je otežano nedostatkom relevantnih arhivskih izvora, ponajprije notnih, koji bi eksplicite osvjedočili glazbeni, odnosno glazbeno-scenski repertoar, što su ga hvarskoj publici i posjetiteljima mogli predstavljati ponajprije gostujući talijanski glazbenici i operne družine, ali i lokalni glazbenici koji su se okupljali u vokalno-instrumentalne ansamble. Glazbenu praksu u krugu Hvarskoga kazališta posredno stoga sugeriraju do sada malobrojni, ali raznorodni (novo)otkriveni arhivski izvori, počevši od popisa danas izgubljenih notnih izdanja svjetovne (i crkvene) glazbe, dostupnih u Hvaru sredinom 17. stoljeća, preko zabilježbi pokojeg suvremenika o (glazbenim) priredbama u 18. stoljeću, pa do sačuvanih libreta, ponajprije talijanskih opera 19. stoljeća, što se danas čuvaju u Muzeju hvarske baštine. Na njihovu će se temelju u ovome radu ponuditi prvi pokušaj rekonstrukcije glazbene prakse i repertoara u hvarskom teatru unutar šireg vremenskog i društveno-političkog okvira, obilježenog u Hvaru najprije mletačkom, zatim kratkotrajnom francuskom, a potom i austrijskom vlašću, ponajviše kao poticaj za daljnja istraživanja ovog zanemarenog ali značajnog segmenta hvarske glazbene i uopće kulturne prošlosti. ; The music nurtured in the earlier past of the first European community theatre, i.e. the Theatre of Hvar – from the time of its establishment in 1612 to its temporary closure in 1888 (due to renovation finished twelve years later) – until today, has remained an entirely unfamiliar aspect of cultural history of the town of Hvar. Illuminating its practice of the time and the role of the public, secular music-making has been severely hindered by the lack of relevant archival sources, primarily of sheet music which would explicitly testify the musical, i.e. music and stage repertoire, that might have been represented to the audience of Hvar and its visitors by the guest Italian musicians and opera companies, as well as the local musicians gathered into vocal and musical ensembles. The musical practice within the theatre of Hvar has so far been represented by merely few, but diverse (newly) discovered archival sources, starting from the list of today lost sheet music publications of secular (and church) music, available in Hvar in the mid-17th century through the annotations made by contemporaries on (music) events in the 18th century, as well as preserved librettos, primarily of 19th century Italian operas, today preserved at the Hvar Heritage Museum. They were used as a foundation for this paper, which is a first attempt at a reconstruction of the musical practice and repertoire of the Hvar theatre within a wider chronological and social and political frame, characterised by the Venetian at first, then briefly French, and finally Austrian rule, mostly as an incentive for further research of this neglected but significant segment of Hvar's musical and cultural history.

During the 19th century, Croatia saw a succession of nineteen bans (viceroys) and banal deputies, and the likeness of most of them has been preserved in portraits. They were not often depicted with state insignia and dignity symbols; therefore, the three representative portraits to be presented in this paper, those of Ignjat Gyulay, Josip Jelačić and Ladislav Pejačević, are the more interesting. In their own way, these portraits are a testimony of the political position of the Triune Kingdom of Croatia, Dalmatia and Slavonia within the Habsburg and, later on, Austro-Hungarian Monarchy as well as the role and authority of the Croatian ban. They are works by prominent painters and are kept in the holdings of the Croatian History Museum in Zagreb. ; Tijekom 19. stoljeća u Hrvatskoj se izmijenilo devetnaest banova i banskih namjesnika, većinom zabilježenih portretima. Budući da na njima nisu često prikazivani s državnim obilježjima te simbolima banske časti, rad donosi uvid u tri reprezentativna banska portreta iz vremena Ignjata Gyulaya, Josipa Jelačića i Ladislava Pejačevića. Isti svjedoče o političkom položaju Trojedne kraljevine Hrvatske, Dalmacije i Slavonije unutar Habsburške, a potom i Austro-Ugarske Monarhije te ulozi i ovlastima bana. Djela su istaknutih slikara i čuvaju se u fundusu Hrvatskog povijesnog muzeja u Zagrebu.

Na osnovu sačuvane izvorne građe obrađuju se radovi na restauraciji i prezentaciji jugoistočnog dijela Dioklecijanove palače u Splitu usredotočenog na monumentalni carev mauzolej i njegov neposredni okoliš. Obuhvaćeno je vrijeme druge polovice 19. stoljeća pa do Prvog svjetskog rata u doba austrijske uprave pokrajinom Dalmacijom. To je bilo vrijeme radikalnih promjena u odnosu na graditeljsko nasljeđe koje su se ogledale od zaštite pojedinačnih građevina do urbanih cjelina, od usmjeravanja na najstariji i najvrijedniji antički sloj k integralnom uvažavaju kasnijih ostvarenja pa i onih manjeg umjetničkog i povijesnog značaja. ; In the 19th century, the historical centre of Split, particularly the part inside the perimeter of Diocletian's Palace, was densely populated, with narrow lanes, dark and airless. The most important Antique buildings, the Temple, the Peristyle, the Vestibule and the Mausoleum were in a fairly good state of preservation, but had been completely neglected. In addition, they had been stifled by houses built on later that so encircled them that they could be seen from no direction. The whole of the area was poorly explored, and it was only in the middle of the century that any very great interest was shown in the remains of the Roman palace; still, however, little was done in the way of protection and presentation. The situation continued to deteriorate, and it was not until 1873 that the Ministry in Vienna sent down three professors to Split to determine the situation and propose a solution for putting it in order. At the beginning, attention was devoted to the Antique buildings, the oldest and most valuable stratum. The most complicated situation was in the eastern temenos of Diocletian's Palace, in the consecrated space that with its wall enclosed the emperor's tomb. At that time, in and immediately around it, was a series of more recent, ordinary buildings that completely blocked off and stifled the monumental building of the former Mausoleum, now the Cathedral. The Viennese experts, headed by Dr Alexander Conze, submitted a report about the operations on the Mausoleum required and the demolition of a large number of worthless buildings around it, in order for the Roman building to appear in its proper prominence. On the western side of the eastern temenos was the open space of the Antique Peristyle, which was used as the church square. They were divided from each other by a colonnade supporting semicircular arches. Behind them, in the space of the temenos, in front of the Mausoleum, there was a sequence of buildings that had their main facades built in between the Roman columns. These were the chapel of St Roch, 16th century, and next to it, that of St Barbara, 17th century, and then after that southwards a café building and the private house of the Petrini. Along the whole of the northern side of the temenos, extending from west to east, was the building of the old episcopal palace built in the 17th century, with its two small wings towards the south. It was partially built on the Roman portico lining the street, and partially on the Decumanus of the imperial palace. It was too dilapidated for the bishops to live in anymore. With the narrow street in front of it, it was encumbered with the passing of pedestrians in this much-frequented and cramped part of the city, which had grown rapidly in the 19th century. On the eastern side in the extension of the Cathedral was a choir, put up in the 17th century. The extension was in a half of its area within the temenos, while the second half came out of it through the wall outside. South of the Mausoleum, abutting onto the outer side of the wall of the temenos, were private buildings, a sacristy and the Early Medieval Chapel of St Matthew. The chapel was demolished in 1880, and the sarcophagi of the archbishops of Split that had been in it for centuries were moved to the side of the altar in St John's Baptistery. At that time small buildings, numbers 450, 472 and 473, close to the Vestibule of Diocletian's own quarters were pulled down so that the rotunda could be renovated, and for there to be a view onto the Mausoleum on that side as well. Putting in order the neglected space of the eastern temenos, hemmed in with buildings, and its immediate surroundings, was the most demanding problem within the compass of Diocletian's Palace. A systematic solution was addressed only in the early 20th century, when, in 1904, a Standing Commission for Diocletian's Palace was set up, to meet every year in Split. It had representatives of local and regional government, and experts from Vienna. The biggest problem in terms of scope, position of complexity and from the viewpoint of the new conservation principles, was the building of the old bishop's palace, with its modest intimations of Baroque that extended to the north of the Mausoleum. The building hindered the flow of pedestrian traffic in this very busy part of the city and hid the view of the Mausoleum. There were major discussions about its future. Views diverged about the new approach concerning the need to keep up historical units, and the requirement that this part of the city should be provided with better conditions of life with respect to traffic and sanitation. In the 19th century, all the buildings that had occluded the Mausoleum, apart from the old bishop's palace, had been torn down. But the problem was not solved until 1924, when the building burned down. At the turn of the 19th and 20th century, the Cathedral and the medieval bell tower were thoroughly restored, according to a drawing by the Viennese architecture Alois Hauser, who also oversaw the works. Today the space of the eastern temenos is almost completely freed of later buildings and thus the most important stratum from Antiquity has been given prominence. But this has its drawbacks, because a large part of the south east quadrant of Diocletian's Palace, bereft of its buildings, became empty and featureless, the picturesque charm of the setting having been destroyed.

U ovom su radu istražene promjene šumskoga pokrova tijekom druge polovice 19. st. na području Ravnih kotara. Polazište čine podaci o površinama šuma i šumovitih pašnjaka iz 1849. na razini ravnokotarskih katastarskih općina prve sustavne franciskanske izmjere te površine šume iz revizije katastra iz 1900. U istraživanju je korišten GIS program ArcMap kojim su podaci vizualizirani te su provedene metode prostorne analize temeljem Moranova I i Getis-Ordova Gi* koeficijenta. Rezultati upućuju na male udjele šuma na razini katastarskih općina i Ravnih kotara u cjelini 1849. i povećanje šuma do početka 20. st. Povećanje šuma posljedica je brojnih odredaba i zakona o zaštiti šuma koje su u Dalmaciji stupile na snagu tijekom druge polovice 19. st. Prisutna je i statistički značajna pozitivna i negativna grupiranost vrijednosti šumskih površina u manjem broju susjednih katastarskih općina iz čega proizlazi da su promjene šumskoga pokrova rezultat uglavnom slučajnoga, a ne sustavnoga djelovanja pojedinih čimbenika. ; The focus of this paper is forest cover change during the second half of the 19th century in the Ravni Kotari Region. The starting point for the research was data on forests and wooded pastures from 1849, based on Ravni Kotari cadastral municipalities of the first systematic Franciscan Survey and data on forest cover from the 1900 cadastre revision. GIS ArcMap software was used to visualise the forest cover and perform spatial pattern analysis using Moran's I and Getis-Ord Gi* statistics. The results indicated a small proportion of forests in Ravni Kotari cadastral municipalities and Ravni Kotari as a whole in 1849, but an increase in forest cover throughout the second half of the 19th century. Forest cover increase was a consequence of several legislative and institutional protection measures for forests, which came into effect in Dalmatia in the second half of the 19th century. Statistically significant positive and negative spatial autocorrelations of forest cover were present in some adjacent municipalities, indicating the mainly random influence of certain factors on forest changes in the Ravni Kotari Region.

Predstavljanje razvoja nastave Pjevanja u osnovnoj školi na području Hrvatske započinjemo razdobljem koje obilježava bujanje narodne svijesti i težnje manjih naroda za samostalnošću koja dovodi do uvođenja hrvatskog jezika u škole. Uporabom narodnog jezika u škole uvedena je i glazba kao obvezan predmet pod nazivom Pjevanje. U tom razdoblju nastaju prve pjesmarice, udžbenici i priručnici na hrvatskom jeziku. Glazbeni pedagozi, učitelji i drugi autori glazbeno-pedagoške literature pod utjecanjem su nacionalnih pokreta prepoznali važnost narodne pjesme za nastavu pjevanja, i ne samo kao instrument pri nacionalnom odgoju, već kao važan didaktičko sredstvo za ispunjenje glazbenih, odgojnih i estetskih ciljeva pjevanja. Ovo je razdoblje institucionalne reforme školstva u kojemu su doneseni važni školski zakoni koji postavljaju temelje nacionalnog školstva. Značajni doprinos razvoju glazbene pedagogije dali su Franjo Kuhač i Vjenceslav Novak koji su među prvima promišljali o metodici rada u nastavi Pjevanja i time postavljaju temelje razvoja glazbeno-pedagoške misli u Hrvatskoj. ; Presentation of the development of teaching of Singing in elementary school at the Croatian territory we are going to begin with the period that is marked by flourishing of national consciousness and aspirations of smaller nations for independence, that leads to the involvement of the Croatian language in schools. By using the national language was also introduced music as a compulsory subject in school under the name Singing. During this period arose first songbooks, textbooks and manuals in the Croatian language. Music pedagogues, teachers and other authors of the musical pedagogical literature, under the impact from the national movement, recognized the importance of folk songs for singing lessons, and not only as an instrument for national education, but also as an important instrument for the didactic fulfillment of musical, educational and aesthetic goals of singing. This was a period of institutional reform in education in which have been adopted important school laws that set the foundations of national education. Significant contribution to the development of music pedagogy gave Franjo Kuhač and Vjenceslav Novak who are among the first to reflect on teaching methods in teaching of Singing, which lay the foundations of the development of musical pedagogical thought in Croatia.

This contribution is dealing with an evaluation of tourism position in the Czech society in the end of the 19th century and in the first decades of the 20th century. Tourism depending on social and economic state of society is examined as one of the attributes of modern society. The attention is preliminary paid to tourism development trends in the 19th century and to its position in the modernizing Czech society. The main part analyses tourism importance for individual social strata of the Czech society in the period under consideration. Analysis of tourism form from individual tourists' view and their preferences didn't stay out of attention.

Ovaj rad analizira povijesne artefakte korištene u rekonstrukciji mode Zagreba s kraja 19. i početka 20. stoljeća. Raznolikost izvora iziskuje postavljanje temeljnih pravila, tj. metoda analize i komparacije, neophodnih za bolje razumijevanje razloga postojanja određenih odjevnih oblika i modnih smjernica. Na primjerima izvora korištenih u rekonstrukciji zagrebačke mode s kraja 19. i početka 20. stoljeća, ukazat će se na zamke krivih i površnih interpretacija. U tom se smislu analiziraju odjevni artefakti, povijesna fotografija, modni tisak, slikarska djela, šaljive likovne anegdote, pisma, te nacrti. Istaknuta je i neophodnost interdisciplinarnog pristupa u istraživanju povijesti odijevanja, kako bi se moda promatrala kao odraz političkih, društvenih, gospodarskih promjena i rezultat kulturnog ozračja. ; The theme of this paper is the artefacts used for reconstruction of late 19th and early 20th century fashion in Zagreb. It will point out new views, methods of analysis and inevitable comparison to reach the goal of supplementing existing knowledge. Although the sources for understanding fashion history do give many information, they are limited in presenting the greater picture. This paper will try to emphasize the source method analysis and the problems that have to be avoided. In that respect clothing artefacts, historical photographs, fashion magazines, paintings, witty art anecdotes, letters and designs will be analyzed. The necessity of interdisciplinary approach of research will be pointed out to ensure the understanding of fashion as a result of historical, social and art influences.

Until the first half of the 19th century, two major contending families were predominant in political theory, namely republicanism and liberalism. The early 19th century unambiguously resolved this theoretical contestation in favor of liberalism. In the last two centuries, liberalism has been the leading political theory. The paper analyzes the revival of republican political theory within the framework of the "historical school" and puts forward the theoretical views of Quentin Skinner and John Pocock. Adapted from the source document.

MUSIC AND POLITICS, THE INFLUENCE OF POLITICAL CIRCUMSTANCES ON THE MUSICAL LIFE IN ZADAR IN THE SECOND HALF OF THE 19th CENTURY