Suchergebnisse

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.

The author outlines the modern universalistic theories that assume the natural & historical unity of humankind &, using this as a starting point, predict a cosmopolitan & Eurocentric outcome of world history. Contrary to these universalistic theories, the contemporary globalist theories, the author claims, are pluralistic & multicultural & thus paradigmatically different from the panoptical theories of classic modernism. Adapted from the source document.

The author firstly examines cultural & historical potentials of Russia, analyzing them in their positive & negative aspects. Western ability to fully confront contemporary problems is then challenged through a brief account of the cultural crisis in its society in order to establish, through an analysis of the specific reception of that crisis in Russia, whether it can offer new, fresh &/or different solutions to global problems. Finally, basic Russian cultural & political values are depicted through the history of their actions globally & the power & significance of those values is defended as exceptionally fruitful for appliance to the contemporary socio-political situation, as to the challenges that lay before the global society in the future. References. Adapted from the source document.

Katedra Čakavskoga sabora Lovran nastala je s jasnim ciljem početka sustavnoga rada na valorizaciji bogate kulturno‑povijesne baštine Lovrana i njegove bliže okolice, Lovranšćine. U ovom radu daje se pregled aktivnosti Katedre u njezinu prvom desetljeću (2009.–2019.) rada kojim se taj cilj ostvarivao. Naglasak je stavljen prvenstveno na znanstvenu valorizaciju spomenute baštine kroz dvije kontinuirane aktivnosti, znanstvene skupove i publikaciju znanstvenog časopisa Zbornik Lovranšćine, te na bogatu izdavačku produkciju kojom se Katedra prometnula u predvodnika izdavaštva na Liburniji. Ocjenjuje se Katedrin rad kroz obranu teze da je Katedra sustavno, temeljito i kontinuirano radila na valorizaciji kulturno‑povijesne baštine Lovrana i Lovranšćine posve uspješno ostvarujući svoje početne ciljeve. Zaključno se osvrćemo na to da je takvim radom Katedra vrlo vjerojatno uvelike nadmašila početna očekivanja svojih utemeljitelja prometnuvši se u uzor znanstvenog rada jedne udruge i, općenito, uzor sustavne izdavačke politike u nekoliko područja: od znanstvenog preko publicističkog do književnog, u kojemu se ističe na regionalnoj, pa čak i nacionalnoj razini. ; The Chair of the Čakavian Parliament in Lovran has been established with the clear goal of starting the systematic work on the valorization of the rich cultural and historical heritage of Lovran and its immediate surroundings, Lovranšćina (Lovran region). This paper provides an overview of the activities of the Chair in its first decade of work (2009-2019) by which this goal was achieved. The emphasis has been placed primarily on the scientific valorization of the mentioned heritage through two continuous activities: scientific conferences and the publication of the scientific journal Zbornik Lovranšćine, and the rich publishing production with which the Chair has become the leading publishing institution in the Liburnia area. The Chair's work is evaluated through the confirmation of the thesis that the Chair has systematically, thoroughly, and continuously ...

Osvrt na život i djelo hrvatskoga književnika i političara Ante Tresića Pavičića (1867. – 1949.) osvjetljuje složenost hrvatske povijesti i književnosti u kulturno- političkim mijenama. Način na koji je Tresić Pavičić prikazivan u povijesnim i književnopovijesnim istraživanjima ukazuje na nestabilnu recepciju njegove važnosti. Ovaj prilog ocrtava žanrovsku raznovrsnost njegova književnoga doprinosa povijesti hrvatske književnosti, uzimajući u obzir i njegove političke pozicije. Danas je sazrelo vrijeme za objektivnu procjenu njegova opusa, od inovativnih do petrificirajućih estetičkih opredjeljenja. Biografija i bibliografija Ante Tresića Pavičića prepleće se s kanonskim pozicijama Marka Marulića s jedne i Vladimira Nazora s druge strane. Važan za povijest hrvatskoga epa, lirike, drame, te iznimno vrijedan putopisac, on zavrjeđuje kulturološku revalorizaciju. ; The overview of the life and work of the Croatian writer and politician Ante Tresić Pavičić (1867-1949) sheds light on the complexity of Croatian history and literature in the periods of cultural and political changes. His importance was given a mixed reception judging from he way in which Tresic Pavičić was presented in historical and literary and historical studies. This article outlines the genre diversity of his literary contribution to the history of Croatian literature, taking into account his political positions as well. The time has come today for an objective assessment of his opus, from his innovative to the established aesthetic convictions. The biography and bibliography of Ante Tresic Pavicic coincide with the canonical positions of Marko Marulić on the one hand and Vladimir Nazor on the other. Being important for the history of Croatian epic, poetry, drama, and also an extremely valuable travel writer, he deserves cultural re-evaluation.

The author looks into the Germanic ideas of Central Europe until the end of World War One. First, he reviews different meanings of the term "Central Europe" & its omission or inclusion in encyclopedias & lexicons. Then he goes on to describe the concepts of Central Europe by German & Austrian thinkers, who define it as various ways of political, cultural, & economic organization of the Central European region. The Germanic ideas of Central Europe tried to politically link the divided German ethnos, protect it from the influence of the "decadent" West & create a bulwark towards Russia. The author concludes that the underlying base of the Germanic ideas of Central Europe is German history as a "special path" (der Sonderweg). That is why they are grounded in romanticism & the rebuttal of liberal & democratic values, ensuing from the fatuity of German bourgeoisie. These ideas were proselytized with the intention of securing for the young nation its exclusive space, Central Europe, & ensuring its place in world history. Adapted from the source document.

Ovom se studijom nastoje rekonstruirati osobitosti glazbene kulture u Mostaru u prvoj polovini XX. stoljeća, njezine vrste, ishodišta i značenje u kontinuitetu, s težištem na institucionalno organiziranoj glazbenoj praksi i njezinoj povezanosti sa širim društvenim kontekstom. Pristup što ga je nametnuo tako postavljeni istraživački cilj obuhvaća predstavljanje glazbene stvaranosti u okviru kulturne, ali i političke povijesti izabrana vremena, čiji je rezultat u najvećoj mjeri i bila. U polju autonomnoga, glazba do sredine XX. stoljeća gotovo da i nije postojala jer se funkcionalno povezivala s oblicima svijesti i načinima života sredine čiju su zbilju obilježile mijene režima, stranačka trvenja vlasti i vladara, gospodarske, političke i kulturološke razlike ostavivši zamjetne tragove u njezinu povijesnome hodu. Stoga se pristup glazbi kao dijelu cjelokupnoga društveno- političkog i kulturnoga života činio jedino ispravnim. Predložena građa može se promotriti kao mozaična cjelina satkana od dijelova što predočuju mjesta i oblike muziciranja, djelovanje istaknutih pjevačkih društava, amaterskih i profesionalnih glazbenih udruženja, školstva i organiziranih manifestacija preko kojih je glazba živjela u gradu Mostaru. ; This article was intended to reconstruct the peculiarities of the Mostar's musical culture in the first half of the 20th century, its species, starting points and meaning in the continuity, emphasizing the institutional organized musical practice and its connection with larger social context. The approach that was imposed by purpose of research includes the presentation of the musical reality whithin the cultural and political history of the determinated period, whose result in the larger part it was. In the field of the autonomous, music until the middle of 20.th century almost it has not existed, because it has been connecting functionally with the kindes of the conscience and living ways of the enviroment whose reality was determinated by regime changes, political party conflicts, economical, political and cultural differences leaving the significant tracks in its historical continuity. Because of that, the approach to music as the part of the entire socio-political and cultural life seemed to be the only correct one. The proposed material can be observed as the mosaic whole made of the parts presenting the localities and forms of the music practice, the activites of prominent choral societies, amateur and professional musical societies, the education and organized manifestations by which music has lived in Mostar.

U radu se analizira slika Josipa Lalića Poljubac Perasta, nastala oko 1930. za Associazione Nazionale Dalmata u Rimu, prema njezinoj kopiji iz Muzeja grada Perasta u Crnoj Gori. Il bacio di Perasto sažima kompleksnu umjetnikovu biografiju, opus i ideološka uporišta, kao i tradiciju talijanskog historijskog slikarstva 19. stoljeća. Dok se u dijelu suvremene talijanske literature ova slika pokušava prikazati kao simbol povijesnog, ideološkog i kulturnog kontinuiteta, u ovom radu ona se tumači kao pseudopovijesni konstrukt utemeljen na političkoj agendi vremena u kojem je nastala. ; The paper analyzes the painting by Josip Lalić Kiss of Perast, created around 1930 for the Associazione Nazionale Dalmata in Rome, according to its copy in the Perast Museum in Montenegro. Il bacio di Perasto summarizes the artist's complex biography, his oeuvre and ideological strongholds, as well as the tradition of Italian history painting of the 19th century. While contemporary Italian literature to a certain extent presents this painting as a symbol of historical, ideological and cultural continuity, in this paper it is interpreted as a pseudo-history construct based on the political agenda of the time in which it was created.

The paper is about the analysis of the general structure & the coherence of the historical consciousness of young people in five groups of European countries, using the results of the international study Youth and History of 1995. The analysis suggests there are two main patterns of historical thinking & the construction of historicopolitical identity that the author calls the driving force of historical progressivism and the smelting-plant of patriotism. These modernist schemes of thought, grounded in the competing perceptions of the nation, democracy & Europe, make the historical consciousness ambivalent. Regarding the coherence of historical consciousness, it is somewhat lower in the countries of Eastern Europe, which can be explained by the impact of the "neuralgic spot" of the collapse of socialism & the discontinuity in social, political & cultural aspects as expressed in the ideological cleavages of that time. In the postsocialist Central-European countries on the other hand, this coherence is the highest, the fact that the author attributes to the radical shift from the ideology of socialism & the domination of the cleavage traditionalism-Occidentalism. Tables, Figures, References. Adapted from the source document.

The author analyzes the reasons for critical reconsideration of contemporary globalization theories at the beginning of the 21st century. An attempt at a paradigm transformation of the social, political and cultural development shows that the possible end of globalization -- as (1) a neoliberal ideology, (2) social paradigm of world development and (3) modernization strategy of transformation of the global age -- points out how the complex concept of culture is pertinent for all the relevant end-of-globalization theories. Now that culture has become both means and end of identity in a global age, we are left with the task to consider why the postmodern concept of culture, has in its plural meanings, been deconstructed in a biopolitical nexus of power. Theories of a turning point at all levels, at which a relation to space and time is established in the global world, point out to the comprehensive transformation of humanity and its social and cultural environment. Through analysis of the complexity of culture (Urry), biopolitics as the end of identity and three attempts at a critique of globalization as the end of history in the works of Wallerstein, Harrison and Rosenberg, the author concludes that culture as an empty hologram of power is not an alternative to globalization, but only its self-organizing system of ideological hegemony. Adapted from the source document.