Suchergebnisse

Članak istražuje načine na koje se odvija interakcija između osječkog kazališta i njegova okruženja u vrijeme Prvoga svjetskog rata, modele međusobnog uvjetovanja, status osječkog kazališta u mikrosredini te društva u osječkom kazalištu, kao i odnose između kazališta i gledatelja te kazališta i politike kako bi se nadopisao jedan manje poznat segment dugovječne povijesti Hrvatskog narodnog kazališta u Osijeku. ; This article explores the way in which Osijek's theater interacted with its environment during the time of the First World War, models of mutual conditioning, the status of Osijek's theater within its microcosm, the society in Osijek's theater, and the relationship between theater and patron as well as theater and politics, so as to flesh out a less-known section of the long history of the Croatian National Theater in Osijek.

The paper analyses Art. 12 of the Convention on the Rights of Persons with Disabilities and its implications for the position of persons with mental disabilities. The new concept of legal capacity contained in Art. 12 should ensure that fundamental human rights of these persons are no longer "a dead letter on paper". However, once the Convention came into force, the implementation of this provision has proved to be problematic for States Parties. Diane Kingston, former Vice-Chairperson of the Committee on the Rights of Persons with Disabilities, best expressed the scale of the problem in October 2015 when she emphasized that no country had until that point fully met the requirements contained in Art. 12. Given that the Convention is a document that prescribes the fundamental human rights, the statement that no national legislation is consistent with its key provision is confusing and worrying. Therefore, a special attention should be paid to Art. 12 and its implementation in practice ; U radu se analizira odredba čl. 12. Konvencije o pravima osoba s invaliditetom te njezin utje- caj na položaj osoba s duševnim smetnjama. Nova koncepcija poslovne sposobnosti sadržana u čl. 12. trebala bi osigurati da temeljna ljudska prava osoba s duševnim smetnjama više ne budu mrtvo slovo na papiru. No, nakon što je Konvencija stupila na snagu, implementacija ove odredbe pokazala se problematičnom za države stranke. O razmjerima problema najbolje govori izjava Diane Kingston, bivše potpredsjednice Odbora za prava osoba s invaliditetom, iz listopada 2015., kako dotad nijedna zemlja nije u potpunosti udovoljila zahtjevima sadržani- ma u čl. 12. S obzirom na to da je Konvencija dokument koji propisuje temeljna ljudska prava, izjava kako nijedno nacionalno zakonodavstvo nije usklađeno s njegovom ključnom odredbom zbunjujuća je i zabrinjavajuća te zahtijeva da se odredbi čl. 12. posveti posebna pozornost.

Drvena kapela sv. Martina u Starom Brodu rijedak je primjer tradicionalnog narodnog graditeljstva s cjelovito očuvanim oslikanim baroknim interijerom. Njezino je očuvanje iznimno važno za lokalnu zajednicu jer je kapela glavno okupljalište seljana u vrijeme pogreba i proštenja, a zbog svoje starosti snažan je simbol višestoljetnog opstanka sela unatoč ratovima i poplavama. Stoga se njezina obnova temeljila na vrednovanju cjelovite strukture građevine i njezinih povijesnih oblikovnih vrijednosti te je povezala sve aspekte kulturnog dobra u cjelinu, što se podjednako odnosi na građevinu, oslikanu unutrašnjost i oltar, kao i na primjenu tradicionalnih tehnika gradnje i uključivanje lokalne zajednice u projekt. Zbog toga je u svibnju 2017. godine Hrvatskom restauratorskom zavodu uručeno najviše europsko priznanje na području zaštite i očuvanja kulturne baštine – Nagrada Europske unije za kulturnu baštinu / Nagrada Europe Nostre u kategoriji zaštite baštine. ; The wooden chapel of St. Martin in Stari Brod is a rare example of traditional, vernacular architecture with a preserved Baroque interior. Over the centuries it has played an important part in the everyday life of villagers as a gathering place for worship and a powerful symbol of the village's survival. Archival records mention the chapel for the frst time in 1699. Originally, it was laid out as a single-nave chapel with a polygonal sanctuary and a small atrium on top of which stood a bell tower. Its present form originated when the atrium was incorporated to form a vestibule in 1736. It was built using a traditional technology of construction with oak planks laid over stone and brick foundations and interlocked without the use of brackets (socalled dovetail joint). What is particular about the chapel is its interior design: all the walls, the ceiling over the nave and the sanctuary vault are lined with a vividly painted wainscoting made of 88 wooden panels framed with decorative laths. The panels depict motifs of intertwined symmetrical ribbons with hanging acanthus leaves, rose flowers, tulips, carnations, peonies and grape vines, painted in vivid colours in the mid-18th century. The main altar with the altarpiece of St. Martin was installed in 1743. By the end of the 20th century, the chapel was rather neglected and had a dilapidated roof. As the roof covering was damaged, the interior was exposed to rainfall, which caused severe damage to the wooden support and the paintwork. An earlier replacement of the roof covering with beavertail tiles instead of shingles led to static displacements and deformations of the building material and caused further damage to the wainscoting panels. The main altar was removed from the chapel in 1991 during a war-time evacuation. Renovation work on the chapel of St. Martin started with an architectural survey of the existing condition and conservation research of the painted wainscoting. The wainscoting was then dismantled, and construction repair of the chapel ensued, which lasted from 2007 to 2012. During the course of it, the entire chapel was disassembled in order for the foundations to be repaired and the damaged or rotted parts of the building replaced. Damaged parts of the roof construction were also repaired and the beavertail tiles replaced with oak shingles, modelled after the original covering. On the dismantled elements of the wainscoting, necessary restoration treatments were carried out, which involved a mechanical removal of dirt from the back of the panels, gamma-ray disinsection, fxing of blistering portions of the polychromy to the support, consolidation of the support, joining and fxating of the panels, and a reconstruction and retouch of the painted layer. With the conservation work completed, the wainscoting panels were returned to the chapel. The Baroque altar of St. Martin was put on display at the 1994 exhibition Sveti trag [Holy Trail], after which it was stored in the Croatian Conservation Institute's depot in Ludbreg. Because of inappropriate microclimatic conditions, damage occurred in places where the wooden elements were joined, and layers of the polychromy and gilding partially detached from the wooden support. The damage was repaired in 2015, just before the altar was returned to the chapel. Despite having been left without the altar in 1991 and the painted wainscoting in 2002, the chapel continued to be used for funerals and on the Feast Day of St. Martin. Only during the construction repair, when it was dismantled, was it out of function. With the renovation completed, the restored wainscoting mounted and the main altar installed, not only was its physical and visual integrity recovered, but a symbolic and spiritual component important to the local community was reinstated as the chapel was returned to function. Albeit important in art-historical terms, as a rare surviving example of Baroque wooden architecture, its true value lies in the symbolism of survival of a community that gathers around it, in spite of all the wars and floods to which it was exposed over the course of history. On the other hand, the comprehensiveness and complexity of the conservation work carried out, while applying the principle of renovation in accordance with professional guidelines, represent a model of how to approach the renovation and presentation of similar monuments of culture. All the aforementioned components constitute the reason why the renovation of the chapel of St. Martin in Stari Brod earned a Europa Nostra Award, a European Union Prize for Cultural Heritage in the category of conservation, with which it was presented in the May of 2017.

U tekstu se, temeljem fotografija od kojih se neke objavljuju prvi put, rekonstruira izvorni izgled secesijske zgrade Hrvatskog doma u Splitu kao zrelog arhitektonskog djela Kamila Tončića. Donosi se i kronološki pregled uloge Hrvatskog doma u društvenoj povijesti grada Splita koji pridonosi spomeničkoj vrijednosti zgrade. ; The idea of building a "Croatian House", in which the Split culture, art and sporting associations connected to National Party would be located Narodna čitaonica (People's Reading Room), Slavjanski napredak (Slav Progress), Narodna glazba (National Music), the Volunteer Fire-Fighters, Muzikalno društvo "Zvonimir" (the Zvonimir Musical Association) and Hrvatski sokol (the Croatian Hawk – sporting association) came upon the scene in 1896. At the turn of the century artists who elevated the cultural and artistic life of Split and took it out of the provincial context, placing it shoulder to shoulder with European contemporaries, came together in the National party circles. The design of the building made in the spirit of Art Nouveau architecture by Kamilo Tončić in 1906 was bold and avant-garde for a centre in which up to then Historicist or revival architecture had prevailed; in consequence it aroused diverse public reactions. But the Croatian House was nevertheless built according to the Tončić design, and opened in 1908. It had an important role in the musical life of Split as a gathering place for musicians, as a stage and concert venue, all the way up to World War I. The most important event in the first year of the existence of the Croatian House was the organisation of the First Dalmatian Art Exhibition at which the foundation of the Medulić Croatian Art Association was mooted, and the idea for founding the Gallery of Fine Art was also put forward. In the changed political circumstances after World War I, the House lost its pre-war role as an essential factor in the creation of the musical and artistic life of the city. When the Sokol association of the Kingdom of Yugoslavia was formed in 1929, all activities in the Sokol House unfolded under the aegis of Sokol (Hawk), for it was a state organisation; the art and cultural events did not rise above the average amateur level. The most important event in the working of the amateur sections of Sokol was the foundation of the puppet theatre in 1933, on the foundations of which the Marionette Theatre still in operation today was built in 1945. After WWII, the onetime Croatian and later Sokol House was renamed Youth House, while along with the Split City Puppet Theatre, various sporting organisations were assigned the premises of the House. The house was remodelled and extended in 1930 and 1939, and thoroughly remodelled in 1942, when all the decorations on the facade and in the interior of the grand hall were destroyed in order to bring out the monumental aspects of the house in the spirit of fascist architecture. The concept of the building is a simple T-shaped ground floor. In the northern part of the site there is a narrow four-storey building with an attic along the long side placed parallel to the street in which the premises of the societies were located, while at the end of the plot, perpendicularly to it, is a two-storey building with a grand hall on the upstairs. With logical grouping of features and a functional arrangement, the spatial constraints of the plot were made use of to the best extent and complemented with an extensive programme that was supposed to meet the needs of the associations so that all of them should have their own individual quarters while making use in common of the grand hall meant for municipal events, joint events and Sokol members' athletic exercises. Although the principal facade is symmetrical with the main entrance in the middle, the courtyard part of the house with the hall is not built on its vertical axis, but shifted to the west. At the joint of the street and courtyard part of the house there are the grand stairs. The non-formalist asymmetrical disposition of volumes between the courtyard wing of the Croatian House and the neighbouring house left room for a large exercise space outdoors. Only a photograph of the drawing of the main facade remains of the design of the Croatian House. By rectification of the historical photographs, the drawing of the built facade was reconstructed, and a comparison of the project and the original appearance of the original facade shows that the design really was built, in basic idea and composition, and that alterations were made only to some of the decorative features. The lobby of the auxiliary eastern entrance and the threeflight stone staircase are kept in original form. The rectification of the previously unknown photographs of the interior of the hall has allowed the reconstruction of the original volume, position and repertoire of decoration. The space of the hall that we know of today in denuded form consists of two parts: the grand hall with the stage and the backstage areas. Abstract, linear and almost flat details, floral motifs, female heads with flowers and leaves in their hair and masks – common in the Art Nouveau idiom – were applied in the iconographic programme. In the choice of construction material and the manner of construction Tončić opted for the classic solid masonry construction of roughly worked stone blocks in lime mortar, smoothly rendered. The between-floor constructions were of wood, as was that of the gable roof. The flights of stairs with stone steps were leaned on iron I-section girders clad in rendered moulding. The pilasters alongside the central entrance, the pillars on the facade with an emphasised cornice and the attic are made of concrete, but they are only decorative and not structural elements of the building. The building of the Croatian House was adapted to the possibilities (i.e. the constraints) of the site and the function, that is, the needs of its users, in the allocation of the fundamental volumes and in the organisation of space. The interior decoration was also adjusted to the contents (the modestly decorated staircase area as against the luxuriant decoration of the grand hall), and a clearly, symmetrically and gracefully designed facade enhanced with Art Nouveau decorations and the characteristic Tončić details reveal its almost classical composition. The representative Art Nouveau building of the Croatian House, designed in the spirit of the Wagner school and its earlier works, is the original work of a mature architect in whom along with an echo of the classicist tradition the architecture of the modern age can also be sensed. But it is not just its Art Nouveau idiom that imparts a particular heritage value to the Croatian House, but also the events and personalities linked with it, whose importance in the history of the city of Split and Croatian art surmounts that of the building itself.

of freedom of expression. However, they have also made it easier and faster than ever before to spread disinformation, misinformation, propaganda and fake news. Although these phenomena are not new, the impact they have had in recent years on political processes in democratic societies (e.g. the 2016 U.S. presidential election and Brexit) and on human behavior during the COVID-19 pandemic, has drawn attention to this issue. The aim of this paper is to highlight the problem of fake news as a human rights issue in the context of Art. 10 of the European Convention on Human Rights, which guarantees freedom of expression. The paper provides a terminological and historical overview of the term fake news and related concepts. It also provides an overview of Art. 10 of the European Convention on Human Rights and clarifies the situations and conditions under which the restrictions on the freedom of expression are justified on the basis of Art. 10(2). The authors also provide an insight into the relevant case law of the European Court of Human Rights. ; Internet i društvene mreže uvelike su pridonijeli ostvarivanju slobode izražavanja. No, olakšali su i ubrzali širenje dezinformacija, propagande i lažnih vijesti. Iako ovi fenomeni nisu novi, utjecaj koji su posljednjih godina imali na političke procese u demokratskim društvima (npr. na predsjedničke izbore u SAD-u 2016. i Brexit) i na ljudsko ponašanje tijekom pandemije bolesti COVID-19, skrenuli su pozornost na ovo pitanje. Cilj je ovog rada upozoriti na problem lažnih vijesti (fake news) u kontekstu čl. 10. Europske konvencije o ljudskim pravima koji jamči slobodu izražavanja. U radu se daje terminološki i povijesni pregled pojma fake news i srodnih pojmova. Zatim se daje pregled čl. 10. Europske konvencije o ljudskim pravima i pojašnjavaju situacije i uvjeti pod kojima su ograničenja prava na slobodu izražavanja opravdana na temelju njena čl. 10., st. 2. Autori pružaju uvid i u relevantnu praksu Europskog suda za ljudska prava.

Među najzanimljivijim projektima obnova crkava Hermana Bolléa i s njim povezanim majstorima zagrebačke Obrtne škole s kojima je surađivao, pripada obnova križevačke katedrale Presvetog Trojstva. Radi se o unijatskoj katedrali, stoljeće ranije uspostavljene, Križevačke biskupije (obnovljene Marčansko-svidničke eparhije). Ovo nije bio prvi obnoviteljski zahvat na crkvi i samostanu, možemo reći da se ovaj građevinski kompleks obnavlja tijekom čitavog 19. stoljeća. Dolaskom u Križevce na mjesto vladike (biskupa), Julije Drohobeczky odlučuje staru redovničku gotičku crkvu obnoviti sjajem dostojnim katedrale, za što će prikupljati podršku svojim političkim i crkvenim vezama. Pored Drohobeczkoga, koji stoji usred inicijative ovog projekta, te Bolléa koji je umjetnički osmislio cjelinu i detalje, treća važna figura u realizaciji ove obnove je Iso Kršnjavi, povjesničar umjetnosti, svestrani kulturni radnik i inicijator, te u kritičnom razdoblju pokretanja projekta predstojnik Odjela za bogoštovlje i nastavu. Obnova crkve i izvedba novog inventara, poglavito crkvenog ikonostasa događa se u jednom od najuzbudljivijih trenutaka hrvatske umjetnosti: prvaci hrvatske moderne vraćaju se privremeno ili konačno sa svojih školovanja, puni novih ideja i revolucionarnih umjetničkih koncepata neviđenih u našim krajevima, sukobi tradicionalista i modernista kulminiraju u polemikama u kojima se ne biraju riječi, promjenjiva politička sudbina Kršnjavog snažno se odražava na umjetničke projekte, ali i na sudbine pojedinih slikara i kipara. U tim okolnostima realiziraju se neki, još danas nedovoljno prepoznati projekti kroz koje se Hrvatska transformira iz provincije u kulturnu srednjoeuropsku sredinu. Jedan od takvih projekata je i križevačka katedrala, te njen ikonostas. Križevački ikonostas je važno, prijelomno djelo u hrvatskoj umjetnosti i kulturi, koje ostavlja trag u pojedinačnom umjetničkom itineraru slikara koji su na njemu radili, te u većoj grupi djela nastalih u sljedećih nekoliko godina. U članku će se pokušati objasniti nastanak ovog ikonostasa iz sukoba i sinergije mnoštva likovnih i ne-likovnih čimbenika, likovne tradicije i novoškolovanih slikara, političke konstelacije u prostoru koji obilježava Kršnjavi sa svojim pristašama i protivnicima, te na kraju, mada možda i najvažnije, specifičnih viđenja istočnog rituala, a posebno unijatske crkvene zajednice. ; The renovation of the Holy Trinity Cathedral in Križevci is one of the most interesting conservation projects of the architect Herman Bollé and the group of artisans and craftsmen whose work he coordinated. The uniate cathedral is the seat of the Eparchy of Križevci (the restored Eparchy of Marča). This was not the first remodeling intervention on the church and the monastery and it can be said that this building complex was being reconstructed throughout 19th century. After becoming the bishop of Križevci, Julije Drohobeczky decided to reconstruct the old monastery gothic church with a splendor becoming of a cathedral, for which he gathered support using his political and church relations. Next to Drohobeczky, the leading figure of this project, and Bollé – the artist behind the reconstruction – the third important figure in the realization of this reconstruction was its initiator, art historian and cultural benefactor Izidor Iso Kršnjavi, who was the head of the Ministry of Religious Affairs and Education in the critical period. The reconstruction of the church and the manufacturing of the new inventory, especially the church iconostasis, took place in one of the most important periods of Croatian art, when the most notable figures of the Modern period in Croatia returned, either temporarily or permanently, from their studies full of new ideas and revolutionary art concepts never before seen in Croatia. Conflicts between traditionalist and modernists culminated in heated polemics. Kršnjavi's changing political influence reflected prominently on art projects, as well as the destinies of some painters and sculptors. In such circumstances some projects, still unacknowledged as of today, which transformed Croatia from a province to a cultural Central European milieu. One of such projects was the Križevci cathedral and its iconostasis. The iconostasis is an important and ground breaking work in Croatian art and culture, which enriched the oeuvre of painters that worked on it and stood out in the bigger group of works of art that were made in the following couple of years. In the following analysis we shall strive to elucidate the creation of this iconostasis out of the conflict and synergy of the multitude of artistic and non-artistic factors, art tradition and newly educated painters, as well as the political constellation in the sphere of action of Kršnjavi and his supporters and detractors, and finally – and most crucially – specific perspectives of the Eastern rite, and especially the Uniate community.

Zdenac (Izdenc, today Zdenci) was in the Middle Ages a specific territorial unit which had initially been an integral part of the Somogy County, afterwards (from the second half of the 13th century) it was part of the Garić County. The big road leading to Virovitica traversed this area and as a travel route it dated back to antiquity when it had been one of the most important routes connecting the Posavina and Podravina main road. In the Middle Ages the most significant settlements alongside this road were Donji Zdenac, where in the 13th-14th century the square, the castrum and the parish church were registered, and Gornji Zdenac, where in the 13th-14th century the parish church and later the castrum were mentioned. Alongside the same road, more westward, there was the Parish Church of St. Stephen the King attached to the adjacent settlement Crna Rijeka, which was situated in the area of Ilovski Klokočevac. On basis of a military map from the 18th century, the text recommends the precise location of two more churches mentioned in the sources of Zdenci from the 14th century – the Church of King St. Stephen (south of Grubišno Polje) and the Church of St. Nicholas (between Mala Barna and Mala Peratovica). Because of the toponym Sesvete, it is also suggested that All Saints' Church be located here; it was mentioned in the 16th century, to the left side of the Ilova River, between Veliki Zdenci and Končanica. ; Zdenac je u srednjem vijeku činio određenu teritorijalnu cjelinu koja se prvo nalazila u sklopu velikog Šomođskog komitata, a zatim (od druge polovice 13. stoljeća) u sklopu Komitata Garić. Ovim područjem prolazila je velika cesta prema Virovitici, koja kao prometni pravac kontinuira iz razdoblja antike kada je bila jedan od značajnih pravaca što su povezivali posavsku i podravsku magistralu. Uz tu su cestu u srednjem vijeku nastala kao značajnija naselja Donji Zdenac, gdje se u 13-14. stoljeću spominju trg, kastrum i župna crkva, te Gornji Zdenac – gdje se u 13-14. st. spominje župna crkva, a kasnije i ...

In this paper the author evaluates the level of visual literacy of Croatian politicians. Her evaluation is based on the analysis of visual material used by political parties in the pre-electoral campaign late in 2007. Assisted by students at the Academy of Visual Arts as politically independent visual experts/evaluators, she examines the visual quality of the political message, its symbolic & communicational, as well as aesthetic & ethical value, taking the examples of posters, advertisements, spot commercials & other products. Research results point to the conclusion that our political public recognizes the power of images mainly in the context of present-day visually oriented society, & that it attempts to use visual effects in communication with potential voters in order to influence their opinions. Unfortunately, the level of such communication is very low, & mostly boils down to negative comparative advertising, which, as proven in other countries, is counterproductive, because it fosters mistrust & doubt of the public regarding the politicians' opportunities & ability to solve social problems. The visual rhetoric in politics requires an art of discourse that has a specific effect on its target group, & this in turn presupposes a high level of visual literacy of both the politicians themselves & the professionals they rely upon. Adapted from the source document.

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.

U pokretu avangarde Walter Benjamin uvidio je tendencije za prevladavanje jaza između društva i kulture te umjetnosti i života. Njegov esej »Umjetničko djelo u razdoblju tehničke reprodukcije«, zamišljen kao okvir za teoriju moderne u svjetlu avangarde, upravo je paradigmatski za razumijevanje avangardne umjetnosti i suvremene kulture te predstavlja svojevrsnu intervenciju, benjaminovsku politiku moderniteta (B. Kiefer). Sveobuhvatna teorija avangarde ne postoji. Ukratko ću se osvrnuti na poznatija tumačenja Petera Bürgera i Aleksandra Flakera, dok su za rad u kontekstu novih istraživanja avangarde ključno poslužili radovi Dietricha Scheunemanna, glavnog urednika niza izdanja nazvanih Avant-Garde Critical Studies. U centralnom dijelu izlaganja prikazati će se odnos Benjamina i nadrealizma, koje je Adorno opisao na sljedeći način: »Benjaminova namjera je bila da potpuno odustane od očitog izlaganja i dopusti da se značenje pojavi jedino šokantnom montažom materijala. Filozofija ne samo da mora uhvatiti korak s nadrealizmom, nego i sama postati nadrealistička.« Konačno, zadnji dio rada bavit će se idejom profane iluminacije. U eseju »Nadrealizam – Posljednji trenutni snimak europske inteligencije« iz 1929. godine, jednom od bitnih prikaza teoretskih, filozofijskih i političkih dometa i obilježja pokreta avangarde,Benjamin profanu iluminaciju predstavlja kao temelj i srž nadrealističkog marksizma. ; Walter Benjamin noticed in the avant¬garde movement the tendency to overcome the discrepancy between society and culture, and art and life. His essay The Work of Art in the Age of Mechanical Reproduction, envisioned as a framework for the theory of modernity in light of the avant-garde, is paradigmatic for understanding of the avant-garde art and contemporary culture. It represents Benjamin's intervention, the politics of modernity (Kiefer). Wholesome theory of avant-garde does not exist. I will briefly examine interpretations on avant-garde by Peter Bürger and Aleksandar Flaker, while I will be relying on Dietrich Scheunemann's Avant-Garde Critical Studies to examine newer theory on avant-garde. In the central part of this review I will present relation between Benjamin and surrealism, which Adorno described as: "Benjamin's intention was to fully give up on obvious exposition and let the meaning appear only through the shocking montage material. Not only should philosophy catch up with surrealism, it alone must become surreal." Finally, in the last part of this paper I will be dealing with profane illumination. In Benjamin's essay "Surrealism: The Last Snapshot of the European Intelligentsia" (1929), one of the most important reviews on theoretical, philosophical and political achievements and characteristics of avant¬garde, he presents the profane illumination as the grounding and the core of Surreal Marxism

U ovome se radu Udruženje umjetnika Zemlja (1929. – 1935.) – organizirana skupina slikara, kipara i arhitekata s lijevom političkom orijentacijom i društveno angažiranom motivacijom – sagledava kao društvenu mrežu. Bipartitna mrežna analiza i pripadajuće vizualizacije pružaju mogućnost identificiranja umjetnika koji u toj mreži imaju najvažniju ulogu, odnosno središnji položaj, kao i izložaba koje se – kao događaji koji te umjetnike povezuju – pojavljuju kao ključne. Takav pristup – temeljen na podacima o broju izloženih radova svih izlagača na Zemljinim izložbama te analizi četiriju mjera centralnosti – omogućuje nove uvide u položaj i važnost pojedinih umjetnika i izložaba u mreži, služi kao potvrda postojećih povijesnoumjetničkih tumačenja, ali i otvara neka nova istraživačka pitanja. Također, pružit će se i sažet osvrt na "geografiju Zemlje", koja se pokazuje široko položenom – od Londona na zapadu, do Sofije na istoku Europe. ; This paper analyses the Association of Artists Zemlja (1929–1935) – the organized group of left-wing and socially engaged painters, sculptors and architects – as a social network. The two-mode network analysis and the accompanying visualizations provide an opportunity to identify the artists who have played the most important role in this network, that is, who have occupied its central position, as well as the exhibitions – the events connecting the artists – which have emerged as key network constituents. Such an approach – based on the number of exhibited works by all participating artists at the Zemlja exhibitions and the analysis of four centrality measures – enables new insights into the position and importance of individual artists and exhibitions within the network and serves as a confirmation of the existing art historical interpretations, as well as raises some new research questions. In addition, this paper also offers a succinct overview of Zemlja's wide-reaching "geography" – from London in the West, to Sofia in the East of Europe.

Odnos Europske Unije i crkava, religijskih zajednica i udruženja različitih nereligioznih uvjerenja institucionaliziran je Deklaracijom br. 11 Ugovora iz Amsterdama, Poveljom o temeljnim pravima Europske Unije (čl. 10.) i Lisabonskim ugovorom (čl. 17. Konsolidirane verzije Ugovora o funkcioniranju Europske Unije). Budući da ugovori o stvaranju Europske zajednice i poslije Europske Unije nisu spominjali odnos prema religijskim zajednicama, što je posve razumljivo s obzirom na sadržaj ugovora, tek je s neformalnim, a potom sve više službenim inicijativama između Europske komisije i predstavnika vodećih religijskih zajednica došlo do dijaloga. Pokušajem identificiranja ključnih prekretnica u odnosu između Europske Unije te crkava i nekonfesionalnih organizacija ovaj rad želi istražiti mogućnosti historijskog institucionalizma u istraživanju političkog sustava Europske Unije. Ključne prekretnice moguće je promatrati kod crkava i religijskih zajednica, kao i kod političkih tijela Europske Unije. Pri proučavanju promjena koje dovode do stvaranja europskog modela odnosa prema religijskim zajednicama rad se zadržava na radu Europske komisije, dok utjecaj europskog zakonodavstva (koje uključuje sudske odluke Europskog suda i Europskog suda za ljudska prava) ostavlja za jednu širu analizu ovog odnosa. ; The relationship between the European Union and churches, religious associations and associations of various non-religious beliefs is institutionalised by Declaration 11 of the Treaty of Amsterdam, the Charter of Fundamental Rights of the European Union (Art. 10) and the Treaty of Lisbon (Art. 17 of the Consolidated version of the Treaty on the Functioning of the European Union). As the treaties on the creation of the European Community and, later, the European Union failed to mention the relationship towards religious associations, which is perfectly understandable considering the contents of the treaties, a dialogue arose only with the informal, and, thereupon, more and more official initiatives between the European ...

In the introductory part of the essay, the author looks into the connection between the establishment & attributes of the so-called state of law & the legal system of continental Europe. This is followed by his summary of the origins of the idea of the state of law & its historical setting. In the middle part of the essay the author offers a list of values, value principles & the premises of the so-called state of law with the corresponding conclusions about a marked, multilevel/multiple restricted meaning & scope of the (mostly) dogmatic, formal/legal principles of the so-called state of law. The author concludes the essay with a rough appraisal of the condition of the so-called state of art in the Republic of Croatia. 51 References. Adapted from the source document.