Suchergebnisse

Europska dimenzija u obrazovanju tema je kojom su se kreatori europskih obrazovnih politika intenzivnije počeli baviti 70-ih godina prošlog stoljeća, dok je interes među hrvatskim znanstveno-istraživačkim krugovima privukla unazad dva desetljeća, a posebice ulaskom Hrvatske u Europsku uniju. Teorijski dio rada donosi sažeti prikaz tijeka razvoja Europske unije i njezinih institucija te razvoja koncepta europske dimenzije u obrazovanju kroz inicijative Europske unije. Iako s teorijskog gledišta pojmovno određenje europske dimenzije predstavlja svojevrstan izazov, može se reći da europsku dimenziju u obrazovanju određuju specifična znanja i vještine koje obrazovanje treba pružiti učenicima kako bi osvijestili i prihvatili prednosti i izazove života u Europskoj uniji. U ovom radu pod indikatorima europske dimenzije u obrazovanju smatraju se (europske) vrijednosti, europsko građanstvo i identitet, višejezičnost i mobilnost te razvoj znanja, vještina i stavova "o Europi, u Europi i za Europu". U istraživanju o stavovima i viđenju Europske unije i europske dimenzije u obrazovanju provedenom među populacijom školskih pedagoga u Hrvatskoj, rezultati su pokazali da se pedagozi smatraju osrednje informiranima te jednako tako osrednje kompetentnima za raspravu i uključivanje sadržaja europske dimenzije obrazovanja u svoj rad. Ipak, pedagozi prepoznaju školu kao značajno mjesto za postizanje zadanih ciljeva europske dimenzije u obrazovanju. ; The European dimension in education is a topic with which the creators of the European education policies became concerned during the 1970s, while it caught the interest of the Croatian scientific and research community two decades ago, and especially after Croatian accession to the European Union. The theoretical part of this paper comprises of a brief overview of the development of the European Union and its institutions and the development of the concept of the European dimension in education through the initiative of the European Union. Although from a theoretical point of view the ...

The text provides an overview and evaluation of the strategy and tactics of Croatian politics in the late 1960s and early 1970s. The analysis focuses on the historical Tenth Session of CK SKH (Central Committee of the League of Communists of Croatia) held in 1970, which defined Croatian politics with regard to economic and social reform, as well as to centralist unitarism and Croatian nationalism. The Tenth Session was conceived and held on the initiative of Vladimir Bakaric, a great figure and a veteran of Croatian politics, who was the uncontested master of Croatia from the end of the war to 1969. With the fall of Rankovic (1966), the symbol of "neo-Stalinist centralism, bureaucratism and Great-Serbian hegemonism", one of the principal obstacles to modernization and democratization of Yugoslav communism was removed. The finest advocates of economic and political liberalization of the regime, of decentralization and of a stronger position of the republics were Bakaric and his disciples, an intelligent and well-educated generation of communists (Tripalo, Dabcevic-Kucar, Pirker). They are the ones who would eventually become symbols of the struggle against the Party's dogmatic conservatism and Stalinist voluntarism. The author puts forward a series of elements which make it possible to understand how the political career of this generation of dynamic and popular politicians, recognized and successful representatives of socialist democracy and national equality, came to a tragic end marked by accusations of flirting with chauvinism, of using "neo-Stalinist" methods against opponents and colleagues, and of attempting to establish a quasi-fascist state, in which the dictatorial rule of the clique of (former?) communists and nationalists, in alliance with the new middle class of managers and "technocrats", would be masked by socialist rhetoric and pseudo-mobilization of the masses deluded by nationalism into believing that members of some other nation are to blame for all problems. Adapted from the source document.

Krajem 2013. i u 2014. Hrvatsku su obilježile dvije vrlo različite promjene u statusu seksualnih manjina. Prvo, ustavnim referendumom istospolnim partnerima onemogućio se pristup instituciji braka. Drugo, novim Zakonom o životnom partnerstvu omogućila im se većina bračnih prava, osim zajedničkog usvajanja djece. Ovo jasno ilustrira sukobljene trendove hrvatskog društva. S jedne strane, poboljšanja u položaju seksualnih manjina mogla su se uočiti još 1970.-ih i 1980.-ih, a nakon prekida tih pozitivnih trendova 1990.-ih, do poboljšanja dolazi posebice 2000.-ih. Istodobno, mnoge formalne pozitivne promjene nisu bile popraćene i promjenama u heteronormativnim i homofobnim praksama hrvatskog društva koje pak postaju očevidne kroz pregled izabranih aspekata socijalne isključenosti seksualnih manjina u sva četiri sustava socijalne isključenosti (demokratsko-pravnom, radno-tržišnom, sustavu socijalne dobrobiti te obiteljskom i sustavu lokalne zajednice) koji se u ovom radu prvenstveno temelji na rezultatima EU LGBT studije iz 2012. godine i koji je nadopunjen rezultatima recentnih domaćih istraživanja vezanih uz LGBT tematiku. ; At the end of 2013 and in 2014, Croatia was marked by two very different changes in the status of sexual minorities. Firstly, same-sex partners were banned from the institution of marriage by a constitutional referendum. Secondly, the new Life Partnership Act provided the same-sex partners with most marital rights, except the joint-adoption right. This clearly illustrates conflicted trends of Croatian society. On one hand, improvements in the status of sexual minorities could have been noted as early as in 1970s and 1980s. After a break in these positive trends in the 1990s, the status of sexual minorities was particularly improved in the 2000s. Nevertheless, many of these positive changes were not accompanied by changes in the hetero-normative and homophobic practices of the Croatian society. This becomes evident in the overview of selected aspects of social exclusion of sexual minorities in all four systems of social exclusion (the democratic and legal system, the labour market, the welfare system, and the family and community system) that is, in this paper, primarily based on the results of the 2012 EU LGBT study, and complemented with the results of recent Croatian LGBT-related studies.

Ova analiza vanjske politike socijalističke Jugoslavije, a posebno razdoblja vladavine Josipa Broza Tita, prvo je politološko razmatranje te teme nasuprot većini studija koja se njome bave iz historiografske perspektive. U prvom dijelu članka prikazani su glavni elementi analize vanjske politike, pri čemu se autor usredotočuje na odnos aktera i struktura kao jedan njezin element. U drugom dijelu prikazane su teorijske i metodološke postavke na kojima se zasniva analiza vanjske politike socijalističke Jugoslavije. Autor zaključuje da je proces odlučivanja o vanjskoj politici Jugoslavije evoluirao od 1945. do 1980. tako što je Tito, kao glavni donositelj odluka, sve više morao voditi računa o strukturi i raznim akterima unutar nje. Očita je bila sve veća pluralizacija procesa odlučivanja, kako na horizontalnoj razini, u interakciji Saveznog sekretarijata za inozemne poslove, partijskog vrha i Titova kabineta, tako i na vertikalnoj osi, kroz utjecaj republika i pokrajina na odlučivanje na saveznoj razini. Iako je ostao glavni donositelj odluka, Titovu su moć s vremenom znatno ograničili utjecaji drugih aktera, osobito otkako je sedamdesetih godina Predsjedništvo SFRJ dobilo mnoge ovlasti. ; Unlike the great majority of analyses that have taken the historiographic perspective, this study of socialist Yugoslavia's foreign policy, focusing on the Josip Broz Tito era, is the first of its kind to provide a perspective of political science. The first section of this article provides an overview of the main elements of foreign policy analysis, whereby the author focuses on the relationship between the actors and the structures as one of its inherent elements. The second section offers insight into the theoretical and methodological tenets on which the analysis of socijalist Yugoslavia's foreign policy resides. The author argues that the foreign-policy decision-making process in Yugoslavia evolved between 1945 and 1980 as Tito, the chief decision-maker, increasingly had to take into account the structure and the multiple actors within that structure. Evidently, the decision-making processes were becoming more and more pluralized both horizontally, in the interaction between the Federal Secretariat for Foreign Affairs, party leadership and Tito's cabinet, and vertically – as seen from the influence the republics and provinces hadon federal decision-making. Though he remained the chief decision-maker, with time Tito's power became limited by other actors' influence, in particular after the Presidency of Yugoslavia was given extensive authority in the 1970s.

Povećanje nezaposlenosti, loš životni standard i opća besperspektivnost, ali i politički razlozi bili su glavni potisni čimbenik iseljavanja iz Jugoslavije tijekom 60-ih i 70-ih godina prošloga stoljeća. U fokusu ovoga rada je iseljavanje građana iz Hercegovine kao regije s najvećom stopom iseljavanja u vrijeme komunističke Jugoslavije. Zbog velike potrebe za radnom snagom i zbog postojanja razgranatih migrantskih mreža (rodbinskih i inih veza), najveći dio iseljenika odlučio se za Saveznu Republiku Njemačku. Prilikom dolaska u SR Njemačku iseljenici se susreću s mnogobrojnim nedaćama i problemima koje ćemo razmotriti u ovome radu. Rad se temelji na metodi pripovjedne povijesti i pripovijesti šestero kazivača. Cilj je predočiti etnološku i kulturno-antropološku sliku života tadašnjih iseljenika, koji se u ovome radu izjednačuju s terminom "gastarbajteri". Jedan od ciljeva rada jest otkriti uzročno-posljedične veze i motive iseljavanja iz komunističke Jugoslavije u SR Njemačku u razdoblju od 1960. do 1973. te prikazati svakodnevicu iseljenika u Njemačkoj. Zaključak rada jest da su razgranate hrvatske migrantske mreže jedan od glavnih poticajnih čimbenika iseljavanja u Njemačku. ; Rising unemployment, poor living standards, and general lack of prospects, but also political reasons were the main drivers of emigration from Yugoslavia during the 1960s and 1970s. The focus of this paper is on emigration to Germany from Herzegovina as the region with the highest emigration rate during the communist Yugoslav political framework. Due to the huge need for the workers and due to the developed migrant networks (family-based or other) the majority of the emigrants decided to go to the Federal Republic of Germany. After their arrival the emigrants are faced with numerous problems, that this paper discusses. The paper is based on the method of oral history and the narrative of six narrators with the aim of acquiring an ethnological and cultural-anthropological picture of the life of the then emigrants, who are in this paper equivalent to the term "Gastarbeiters". One of the aims of the paper is to unveil causes, consequences and motivation for the emigration from the communist Yugoslavia to the Federal Republic of Germany in the period 1960 till 1973 as well as to depict everyday life of the emigrants in Germany. The conclusion of the paper is that the branched Croatian migrant networks were one of the main incentives for the emigration of Croats to Germany.

U članku se iznose dosad nepoznati detalji o zgradi vojne pekare i skladišta brašna izgrađenoj na strateški važnoj poziciji u sklopu Opskrbničke vojarne, kao dijela VIII. Eugenova bastiona osječke Tvrđe. Zgrada je podignuta sredinom 18. stoljeća, a uvidom u sačuvane povijesno-arhivske nacrte možemo utvrditi da je do današnjih dana sačuvala izvornu prostornu organizaciju i oblikovanje uz manje naknadne intervencije. Upravo je zbog neprekidnog višestoljetnog rada pekare i skladišta izbjegnuto rušenje VIII. bastiona pri razgradnji fortifikacijskog prstena Tvrđe u prvoj polovici 20. stoljeća. Vrijedan rezultat konzervatorsko-restauratorskih istraživanja je i dosad jedinstveni pronalazak grafita na zidnim plohama u unutrašnjosti. ; The building housing the military bakery and flour warehouse was built on an important strategic position within the Supply Barracks, as part of the Bastion VIII of Eugen of Savoy in the Tvrđa fortress in Osijek. It was built in the mid-18th century, and preserved historical and archive drawings confirm that it has kept its original form and shape, with smaller subsequent interventions caused by advances in technology in the 19th and 20th centuries. It was built for military purposes in the mid-18th century, but developed through several construction phases. It represents a perfect monument of utilitarian construction, with food production technology whose process can still be reconstructed on the basis of the preserved equipment. First-rate military builders understood the technique for storing raw materials for making bread as well as technical requirements of a bakery. The military bakery is located in the north part of the city with less traffic to prevent pollution from smells, smoke, dust, etc. The location was also determined by the proximity of drinking water and energy sources, and, most likely, the vicinity of the river port, where ships brought supplies such as flour, salt and yeast, since there were not enough supplies in Osijek prior to the construction of the Supply Barracks and military bakery. The military bakery is a monumental two-storey brick building that had the central function of the supply and warehouse system of Tvrđa in Osijek. The supply of bread and other baked goods continued throughout the 19th century, when the newly built military facilities outside the Fortress were supplied, until the 1970s. Brick ovens were found on the ground floor, and graffiti were on the walls in the interior. The graffiti represent a spontaneously created decoration on the surface, and new elements were added over time. The size and motifs of the graffiti templates differ, and they are a testimony to the work and imagination of soldiers, and moments from their lives. We can conclude that the continuous production of baked goods from the time of the construction until the second half of the 20th century preserved and, very likely, prevented the devastation of the fortification complex that the bakery was part of. Therefore, details discovered on the basis of the results of conservation and restoration research will be relevant to the revitalization and reconstruction of the building.

U radu su obrađeni konzervatorsko-restauratorski radovi na portretu Marije Terezije iz prve polovine 18. stoljeća. Slika je pripisana radionici Martina van Meytensa. Tehnika slike je ulje na platnu, a portret prikazuje Mariju Tereziju koja je kao ugarsko-hrvatska i češka kraljica vladala u doba Habsburške Monarhije od 1740. do 1780. godine. U svojoj je vladavini uvela brojne reforme u vanjskoj i unutarnjoj politici. Slika potječe iz ranog razdoblja njezine vladavine, a prikazuje je cijelim stasom u slavljeničkoj brokatnoj odori. Stoji kraj bogato izrezbarenog stola na kojem se nalazi svečano ukrašen jastuk s dvjema položenim krunama austrijskih nadvojvoda. Visina slike je 203 cm, a širina 140 cm. Specifičnost ove slike je da je imala dvije ranije restauratorske intervencije, 1857. i 1993. godine. U donjem desnom kutu slike, u sloju preslika, vidljiva je teško čitljiva signatura koja se najbolje razaznaje uz pomoć makrofotografije, a glasi Mayerwieser renoviert 1857, dok se u dostavljenoj dokumentaciji iz 1993. tumači da se na slici nalazi naziv Meytensen pinxit 1857. kojeg je Mayerwieser potpisao prilikom obnavljanja slike iste godine. Taj nam podatak potvrđuje da je naziv Mayerwieser renoviert 1857. nastao prilikom prve restauracije na slici u izvedbi austrijskog slikara Ferdinanda (?) Mayerwiesera. Tijekom restauracije 2014. godine komisijski je utvrđeno da se taj potpis neće uklanjati radi osjetljivosti slikanog sloja u tom dijelu slike. Signatura u donjem desnom kutu očišćena je samo površinski, stanjivanjem starog požutjelog laka vrlo blagim otapalima. Prilikom istraživačkih radova koja su uključivala tehnička ispitivanja i testove topivosti, zaključeno je da je u ranijim restauratorskim intervencijama uklonjena zelena boja s haljine i tirkizno plava s desnog rukava, a djelomično je uklonjena i tamna pozadina ispod koje se nazire arhitektura i draperija. S obzirom da je bilo potrebno utvrditi područje ostatka laka i preslika kao i sastav punila u prethodnoj intervenciji, pristupilo se dodatnim istraživačkim radovima koji su obuhvaćali IC i UV snimke, stratigrafiju slikanog sloja, probe uklanjanja sloja potamnjelog laka s nečistoćama i preslicima, te probe uklanjanja starih zakita. Stratigrafska analiza presjeka slikanog sloja pokazala je da je slika u restauraciji 1857. godine većim dijelom tonirana tamnom lazurom u čijem je sastavu pronađeno saharidno i proteinsko vezivo. Toniranje je bilo izvedeno bez prethodnog uklanjanja naslaga nečistoće i požutjelog laka. Analize XRF snimaka ostataka zelenog sloja preslika s haljine otkrile su barijevu bijelu i krom oksid zelenu. Ti su pigmenti otkriveni početkom 19. stoljeća što potvrđuje prethodni zaključak o prisutnosti velike količine preslika. Prilikom čišćenja prljavštine i preslika otkrivena je znatno svijetlija pozadina oko lika Marije Terezije. Nakon istraživačkih radova, čišćenja lica i poleđine slike, parcijalno su skinuti umetci platna i platnenih traka s rubova na poleđini slike. Slika je tretirana na toplinskom vakuum stolu radi dodatne konsolidacije i ravnanja. Prilikom tog postupka, spuštene su i blago izdignute krakelire na licu slike. Oštećenja su sanirana novim umetcima ranije prepariranog lanenog platna, iskrojenim prema obliku oštećenja, a pukotine na platnu spajane su pomoću pulveriziranog ljepila toplinskom špatulom. Nakon sanacije oštećenja, slika je s poleđine, kao i novo laneno dublirno platno, tretirana sintetskim ljepilom nakon čega je dublirana na toplinskom vakuum stolu. Nakon tog su postupka sanirana oštećenja u sloju preparacije. Slika je na kraju napeta na novo izrađeni drveni, križni klinasti podokvir. Podlaganje retuša izvedeno je u gvaš tehnici, u svijetlijoj nijansi lokalnog tona. Nakon podlaganja, slika je izolirana lakom. Završni retuš izveden je smolnim lazurama. Osim po svojoj umjetničkoj vrijednosti, slika je specifična i po svojim ranijim restauratorskim intervencijama koje su izazvale mnoge polemike u pronalaženju optimalnih rješenja za predmetnu restauraciju i konzervaciju koja je dovršena 2014. godine. ; This article is about the conservation and restoration carried out on a portrait of Maria Theresa from the 18th century attributed to the workshop of painter Martin van Meytens. The painting is an oil on canvas and portrays Maria Theresa, Hapsburg sovereign of Austria, Hungary, Croatia, Bohemia, Transylvania, Mantua, Milan, Lodomeria and Galicia, the Austrian Netherlands and Parma. By marriage, she was Duchess of Lorraine, Grand Duchess of Tuscany and Holy Roman Empress. During her rule (1740 – 1780) she introduced a number of reforms in foreign and domestic policies. This painting, painted during the first few years of her rule, shows her whole posture in celebratory brocade robe, as she stands next to a richly carved table with a solemnly decorated cushion and two crowns of the Austrian archduke. The dimensions of the painting are 203 cm x 140 cm (height/width). The painting had undergone two previous restorations, in 1857 and 1993. Based on documentation, an interesting detail was added during the 1993 restoration: in the lower right corner of the painting, in the overpaint layer there is a visible signature Meytensen pinxit 1857 – even though the painter died in 1770. It is therefore assumed that he was signed during the first restoration of the painting in 1857, led by painter Mayerwieser. During the last restoration in 2014, it was concluded that this signature is not correct, the correct one is Mayerwieser renoviert 1857. Because of the fragility of painted layer on this part of the canvas, the signature was cleaned only superficially by thinning of the yellowy varnish with a mild solution. Because of the incomplete and unclear documentation following the 1993 restoration, it was very hard to determinate all of the zones with layers of overpaint and validate the decision to remove them completely or only partially. After the probing it was concluded that the green color from the robe and turquoise color from the right sleeve were both removed during previous restorations. The dark background with visible architecture and drapery was also partially removed. Additional probes, including IC and UV scans, stratigraphy of the painted layer, removal probing of tarnished varnish with impurities and overpaint, were conducted to determine the zones of preserved varnish and overpaint as well as the quality of fill composition in the previous intervention. Stratigraphic cross-sectional analysis showed that during 1857 restoration, the painting was tanned with dark glaze based on saccharides and protein binder. Toning was executed without the removal of dirt, rust and old varnish. Analysis of XRF images of the green overpaint layer from the robe detected barium white and green chromium pigments. These pigments originated in the early 19th century which proves the previous conclusion of a huge overpaint presence. Considerably brighter background behind the image of Maria Theresa was discovered during the removal of impurities and overpaint. After the probing and cleaning of the face of the painting, canvas inserts were partially removed as well as linen strips from the edges on the back of the painting. Inserts from the previous restoration works did not follow the form of damage, they were square in shape and attached with hardened, inadequate glue that was unevenly applied on the original canvas. Linen strips were also inadequately formed so they all had to be removed. The whole back of the painting was mechanically and chemically cleaned, and then strainghtened on the thermal vacuum table. During the procedure, even craquelures on the face of the painting descended. All damage was repaired with prefabricated linen adjusted to the shape of the damage. Inserts in the level of original canvas were fixed with Beva Film and Japanese paper, and the cracks on the canvas were bonded with powdered adhesive applied with heat shrink. After the damage was repaired, both face and the back of the painting were treated with a synthetic adhesive, and fixed on a new canvas doubled on the thermal vacuum table. After doubling and additional straightening, damages in the ground layer were reconstituted with methyl cellulose filler of the appropriate pigment and a smaller amount of acrylic adhesive. During this process, the structure of the canvas was followed. Finally the painting was monuted on the new wooden underframe. Retouche underlying was executed in gouache technique, in a lighter shade of the local tone. After that, the painting was isolated in varnish. The final retouching was executed in resin glaze, and the painting was additionally protected with a combination of glossy and matte lacquer in equal proportions. Except for its artistic value, the painting is unique because of earlier restorations that caused many discussions to try and come up with optimal solutions for the conservation and restoration completed in 2014.