Suchergebnisse

Kao povijesno-kulturne ustanove, arhivi prikupljaju, obrađuju i daju na korištenje različite kategorije podataka sadržanih u arhivskom gradivu, vodeći se pritom domaćim i međunarodnim stručnim standardima, pravnom regulativom i dobrom praksom. Jedna od znatnije zastupljenih kategorija su osobni podatci građana, o kojima se u recentnoj stručnoj literaturi najviše pisalo s aspekta njihove dostupnosti, tj. uvjeta i načina korištenja. U ovom članku analiziraju se i naglašavaju neki praktični i etički aspekti u vezi s opisivanjem arhivskih fondova i zbirki koji sadrže takve podatke, posebno u kontekstu primjene Opće uredbe o zaštiti podataka (General Data Protection Regulation, GDPR). Daje se i pregled preporuka koje je u listopadu 2018. izradila Europska arhivska grupa (European Archives Group, EAG) kao pomoć europskoj arhivskoj službi u implementaciji te Uredbe. Time se nastoji dati poticaj za daljnju znanstvenu i stručnu obradu te teme, posebno u vidu izrade odgovarajućega nacionalnoga priručnika za opis arhivskoga gradiva koje sadrži osobne podatke i druge kategorije ograničeno dostupnih podataka u kojem bi primjena normi i važećih propisa bila ilustrirana odgovarajućim praktičnim primjerima. ; In order to present archival records they store and facilitate their usage archives produce various types of finding aids. Previously these finding aids were accessible in Croatian archives in archival reading rooms in printed form, whereas in recent times they have become more accessible in digital form on websites of archives or on network information systems. In this way the descriptions of archival records become publicly available to a large number of users, without geographical or time constraints, by which archives mostly do not possess tools or resources to monitor the manner users further dispose of that descriptive data. This further reinforces the practical and ethical issues regarding the formation of archival description in a way that it provides the whole information on records' contents and the context of their creation, without hiding (omitting) and at the same time does not reveal data responsible for the possible limited availability of records. For the last twenty years Croatia has been applying ISAD(G) and ISAAR(CPF), the international archival standards for describing archival records. Despite that, there are departures in practice and misgivings regarding the interpretation of contents and the role of individual descriptive elements, as well as the structure of finding aids. Such departures are also expected in the segment that describes personal data, bearing in mind that both ISAD(G) and ISAAR(CPF) contain general rules without particular guidelines for the description of archival records containing data with limited availability. Misgivings in practice can result in a passive approach in processing and describing personal data which can, for example, manifest by producing finding aids only for internal needs (without making them available to users), ignoring or (un)intentionally withholding information on the existence of personal data in archival records and terms of their availability. Since 2018 Croatia has been applying two new provisions that are important in the context of the processing and description of personal data in archival records. They are the General Data Protection Regulation (GDPR) and the Act on Archival Records and Archives. The paper describes in detail and compares some of the principles from these two provisions and analyses their influence on the current practice of description of personal data in archival records (defining personal data, processing the data of deceased individuals, the principle of reducing the quantity of data, encouraging the acquirement of data that is important for raising awareness of totalitarian and undemocratic regimes and their consequences). With regard to the very broad definition of personal data archivists always face the question whether the data they will supply in the title or the description of archival units can cause the direct or indirect identification of an individual i.e. the particular issue of endangering someone's privacy, dignity and other rights. Furthermore, bearing in mind that the Regulation and the Croatian archival act do not impose any limitations regarding the processing of deceased individuals' data, it can be concluded that there are no formal impediments either for archival description or publishing such data. However, the question remains, regardless of the fact it concerns the data of deceased individuals, whether the ethical principle that archivists abstain from overly exposing data should be upheld, particularly if it concerns sensitive data which can influence the violation of dignity of family members of those individuals. The basic principles of the Regulation include the principle of reducing the quantity of data. It entails that personal data must be appropriate, relevant and limited to necessities in relation to purposes for which they are processed. The application of this principle is particularly important in the context of creating and enhancing the trust between the archives and the public. In other words, this approach conveys the message to the public that they can trust the archival service not to unjustifiably or excessively reveal and publish personal data. Within the context of processing data which is important for enhancing the awareness on the totalitarian and undemocratic regimes and their consequences there is a practical and ethical question on how to maintain the neutral position of archivists and archives as institutions in terms of providing objective description, without the endeavour to interpret on the political or ideological level. Concerning the indicated practical and ethical issues, the application of the guidelines created in October 2018 by the European Archives Group as assistance in implementation of the General Data Protection Regulation is recommended. The guidelines are connected with the Principles of Access to Archives by the International Council on Archives from 2012. This demonstrates that even before the General Data Protection Regulation was adopted the archival community paid considerable attention to ethical issues and standards of good professional practice regarding protection, processing and description of personal data in archival records. However, within the context of the new legislation the paper's intention is to encourage further scientific and professional addressing of this topic within the Croatian archival community, including producing a guide regarding all aspects of managing personal data in archival records. Besides, the prevailing view is that there is a need for producing a special manual for the description of archival records which contain personal data and other categories of data with limited access, in which the application of standards and current provisions would be illustrated with appropriate practical examples.

Na temelju otkrića stupa s natpisom SCRIB COS, scrib(a) co(n)s(ularis) don Frane Bulić ubicirao je palaču namjesnika provincije Dalmacije gdje je potom pronađeno više slojeva mozaika s figuralnim prikazima (Apolona, Tritona i Orfeja) i geometrijskom ornamentikom. Analizom dokumentacije napravljene za vrijeme istraživanja 1942. godine, može se razlučiti osnovni oblik građevine, tj. klasični tip rimske vile sa središnjim atrijem, koja se nalazila uz glavni dekuman. Već na prvi pogled primjećuju se tijekom vremena znatna preuređenja pojedinih prostora i dvorana osnovnog korpusa palače, a osobito u vrijeme cara Dioklecijana. To nedvojbeno potvrđuje carev gentilicij Valeria u službenom nazivu grada naveden na reljefu salonitanske Tihe koji je tvorio dio lučnog ukrasa ulaza u namjesnikovu palaču. Autorica rekonstruira izgled monumentalnih vrata gdje se u ključnom kamenu nalazio prikaz Rome čiji je lik flankirao treći, zasad nepoznati reljef. ; Following up on an accidental discovery of a column that had on it the inscription SCRIB COS, scrib(a) co(n)s(ularis) back in 1916, Frane Bulic located the office of the governor's secretary, in other words, the palace of the governor of Dalmatia. In this place several layers of mosaics were found, Bulić focusing on those with depictions of Apollo, Triton and Orpheus, but in spite of all his efforts, he did not manage to buy the land. During World War II, Italian archaeologists carried out excavations in the palace during 1942 and at that time, extracted numerous mosaics, today partially exhibited in the Archaeological Museum in Split. Unfortunately, no accounts of the results of the Italian excavations were ever published, and it is only recently that Emilio Marin has provided part of the documentation of this research. Only a preliminary account of the governor's palace revealed in the Ilinac neighbourhood (Zubanovac, cadastral parcel 3551/1) has been published. Hence it is not possible to comprehend the totality of this monumental public building, or the unique stratigraphic relation of the individual mosaic fields with figural depictions or those with geometrical ornamentation that also formed a considerable part of the whole of the arrangement of the flooring. However, through an analysis of the architectural and photographic documentation made during the excavations known so far, it is possible to distinguish the basic shape of the building. It is a classic type of Roman villa with a central atrium. At first glance it is possible to make out the considerable remodelling of individual rooms and halls of the basic corpus of the 2nd century AD palace that took place over the course of time. The entry was on the northern façade, and then through the vestibule there was access into the atrium, the central space with porticos, around an impluvium enabling access to the other rooms. One the west side of the atrium is a series of four rectangular rooms, while on the eastern side was a room of much bigger dimensions with built square pylons regularly distributed around the central pylon. These are structural elements, i.e., bearers of the cross vaults that spanned the largest hall and on the floor above it was a room of the same size. The main hall was decorated with floor mosaics with rich floral ornamentation. These elements show the final renovation of the grand hall in Late Antiquity, undoubtedly influenced by the architecture of Diocletian's Palace. Belonging to the first layer is a mosaic showing the mythical singer Orpheus, over which is a mosaic with Triton, in the extension of which was a mosaic featuring Apollo. According to archival photography, mosaics with Triton and Apollo are above any of the other mosaics and probably belong to the last renovation of the mosaic floors of the governor's palace. The question here arises as to whether the placing of the figure of Triton is to be linked with inscriptions of a college from the time of Diocletian: sailors who served on ships called tritons, the names of which are written on altars during the annual ceremonies of Kalendis febr(aris) menestravinus at Tritonis. The governor's palace was much renovated, like other public buildings, in the time of Emperor Diocletian. Although for the moment only modest remains of his well known architectural activity have been confirmed in Salona, the emperor's gentile name in the official name of the city is stated in the relief of the Salona Tyche, confirming this beyond a doubt. Since the relief belongs to the arcuate decoration of the monumental gate, and is found by what are called Five Bridges, it has been assumed that it was originally placed on the nearby city gate, Porta Caesarea. But in the immediate vicinity of the site of the discovery of the arcuate relief there was the governor's palace. What was actually shown on the keystone of the arch beside the relief of the Salona Tyche? In a study dedicated to monuments of Minerva, D. Rendić-Miočević provides the information that together with the relief of Salonitan Tyche there was a relief found that had a depiction of a bust of Minerva or Roma on the arch stone of one of the gates in Salona. This relief of Roma is also displayed in the lapidarium of the Archaeological Museum, but is wrongly entered into the museum inventory (Cat. D 480), which has entirely suppressed its origins in Salona. That it belonged to the decorative parts of the same arch is shown beyond a doubt by the identical lines of the moulding around similarly formed niches and the stylistic characteristics of the female deities. It was above the main entrance into the governor's palace that there were prominent relief depictions of Roma, personification of the Roman state, and Salonitan Tyche, patroness of the city. This correlates very well with the context of the propaganda and religious programme of the residence of the governor of the province of Dalmatia. Over the main entrance, then, were displayed the official symbols of Roman rule. From this point of view it can be hypothesised what there might be on the third relief, which undoubtedly flanked the goddess Roma on the other side. Since in the name of Salona there was Diocletian's gentilicium, Valeria, which is an essential element for the time of the origin of the relief, that is, the decoration over the entrance of this important building for the government of the whole province, one should assume there was some symbol of the ruler, i.e., the emperor. It is an open question whether in this place one is to look for the figure of the ruler so present in and responsible for the renovation of not only this public building but of the whole of the capital, Salona, whence, when he stepped down from the throne, he was able still to take part in the government of the Empire.