U članku se razrađuje identitet grada koji je poistovjećen sa sudbinom samoga autora u tijeku najtežega dana napada na grad u Domovinskome ratu. Poistovjećujući se s gradom, on se istodobno pretvara i u središnji lik romana. Riječ je o posve drukčijemu i dosad nepoznatome ratnom pismu u Hrvatskoj jer je djelo posvema okrenuto transcendenciji. U romanu je rat tek sila zla, a ne politički proizvod. Tragičnost rata u Hrvatskoj kao književna tema prikazana je na sveopćoj civilizacijskoj razini kao iskonsko prokletstvo čovječanstva. Grad Zadar, smješten na obalama Sredozemlja, svojom povijesti i baštinom koja se razara preuzima na se ulogu Čovjekova glasnogovornika. Kada se ruši grad kao sveti prostor, čovjek gubi svoj vlastiti identitet. Povratak identiteta moguć je samo na simboličkoj i metafizičkoj razini pa roman obiluje simboličkim i arhetipskim slojevima i motivima. ; The article elaborates an identity of the city which is identified with the author's destiny during the hardest day of attacking the city in the Croatian War of Independence. Identifying himself with the city, at the same time he turns himself in the main novel protagonist. That is a completely different and so far unknown war letter in Croatia, because the work is completely turned to transcendence. In the novel the war is the evil force and not political product. Tragicalness of the war in Croatia as the literary topic is shown at the general civilization level as a true human damnation. City of Zadar, located at the Mediterranean coasts, with his history and destroying heritage takes over the role of human spokesperson. When a city as the holy area is destroyed, a human loses his/her own identity. Return of identity is possible only at the symbolic and metaphysic level, therefore the novel is full of symbolic and archetype motives.
Domovina je s jedne strane prirodna činjenica, a s druge strane nije gotova datost nego politička zadaća. Mi sami sebe tek u slobodi podižemo i stvaramo svoju domovinu. Autorica odabire dva književna predloška koji tematiziraju domovinu i lutkarski su uprizoreni u Kazalištu lutaka Zadar: Pionir Grujo Vladimira Nazora (1952.) i Gradovanje Tahira Mujičića (1986.). Predstave imaju različitu poetiku i nastaju u različitom kontekstu i unutar samog Kazališta lutaka Zadar ali i političkih prilika u Hrvatskoj. Lutkarska igra Pionir Grujo bila je na repertoaru Kazališta lutaka Zadar već u njegovoj prvoj godini djelovanja. Nastaje u doba socrealizma i kako bi izbjegao klišeje tadašnje književnosti, Nazor priču o Pioniru Gruji postavlja između mitologije i stvarnosti. Aktualna tema, izgradnja domovine, konkretizirana je u gradnji pruge Šamac – Sarajevo. Lutkarska igra Gradovanje nastaje u doba kada je lutkarstvo u Zadru bilo već afirmirano i spremno na neobične priče i inscenacije. Gradovanje nastaje u doba prosvijećenog ili dekadentnog socijalizma kada se Tahir Mujičić morao poslužiti bajkom kako bi predstavio svoje viđenje domovine. ; On the one hand a homeland is a natural fact, but on the other hand it is not something finished and given but a political task. Only in freedom can we raise and create our homeland. The author is choosing two literary templates which thematize a homeland and were staged as puppet show in the Zadar Puppet Theatre: Pioneer Grujo from Vladimir Nazor (1952.) and Towning from Tahir Mujičić (1986.). Those puppet shows have different poetics and are born in different contexts of Zadar Puppet Theatre but also in different political circumstances of Croatia as a whole. Puppet show Pionir Grujo was on the repertoire of Zadar Puppet Theatre already in its first active year. It appeared in the age of socialist realism so, to avoid literary clichés of that time, Nazor placed the story between mythology and reality. Actual theme, the creation of homeland, is concretized in the construction of railway Šamac-Sarajevo. Puppet show Towning appeared when a puppetry in Zadar had already been established and ready for unusual stories and staging. It was in the age of enlightened or decadent socialism when Tahir Mujičić was compelled to get use of a fairytale to represent its vision of homeland.
Ovaj rad bavi se političkom simbolikom zastave kao sastavnim dijelom političkih rituala i političke mitologije te posebice desakralizacijom (profanacijom) zastave kao fenomenom izrazitog političkog simbolizma. U prvom dijelu rada iznosi se povijesni pregled desakralizacije zastave, nacionalne i državne, dok u drugom dijelu autor razmatra fenomen desakralizacije zastave među-narodnih organizacija. Zatim se analizira slučaj desakralizacije zastave Europske Unije u Hrvatskoj 2011. godine u kontekstu kaznenog progona počinitelja i u kontekstu interpretacije kaznenih sankcija, pri čemu autor tvrdi da se odredba članka 186. Kaznenog zakona ne može odnositi na zastavu Europske Unije jer je Lisabonskim ugovorom, koji je stupio na snagu 1. prosinca 2009., dotadašnja zastava EU-a prestala biti službenom. S druge strane EU nije klasična međunarodna organizacija, već politička asocijacija zemalja članica sui generis, pa tako izmiče definiciji međunarodne organizacije, što je potvrđeno i Rezolucijom Opće skupštine UN-a od 3. svibnja 2011. U takvom kontekstu promašen je kazneni progon palitelja zastave EU-a u Hrvatskoj, kao što je neprimjerena i kaznena odredba sa zapriječenom kaznom koja na simboliku paljenja zastave odgovara simbolikom represije. U zaključku autor iznosi da je za politologiju od posebne važnosti izučavanje političke simbolike, što obrazlaže svojom analizom na primjeru desakralizacije zastave Europske Unije. ; This article deals with the political symbolism of the flag as a constituent part of political rituals and political mythology, and special attention is given to the desecration of the flag as a phenomenon of exceptional political symbolism. The author reviews cases of flag desecration, national and international, while in the second part of the article deals with the desecration of international organizations' flags highlighting the desecration of the EU flag. Then the article analyses the desecration of the EU flag in Croatia in 2011 within the context of criminal proceedings initiated against the perpetrators. In doing so, the author finds that Art. 186 of the Croatian Penal Code cannot apply to the desecration of the EU flag as a symbol of an international organization, because the EU is not a classical international organization, but an association of states sui generis, as the German Federal Constitutional court ruled in 1993. Moreover, the flag of Europe is not the official flag of the EU any more since the provisions on EU symbols were cancelled in the Lisbon Treaty entering into force on December 1, 2009. Therefore flag burners or flag rippers cannot be prosecuted under the provisions of this article, because no one can be indicted for a non-existing symbol. However, the study of political symbols is very important in contemporary political science and this should be dealt with in analysis and research.
U prilogu se objavljuju i u povijesno umjetnički kontekst stavljaju dva srebrna zidna svijećnjaka s poprsjima antičkih figura uokvirenih prepletima stiliziranog akantusovog lišća, a koji se čuvaju u franjevačkom su samostanu na Trsatu. Posljednji su put svijećnjaci snimljeni prilikom fotodokumentacijske kampanje Artura Schneidera tijekom četvrtog desetljeća 20. stoljeća, a 1974. godine su registrirani kao kulturno dobro u sklopu inventara franjevačkog samostana. Riječ je o vrijednom kompletu srebrnih zidnih svijećnjaka koje je 1693. godine trsatskom samostanu darovao car Svetog rimskog carstva njemačkoga naroda Leopold I. Habsburg (1658.-1705.). U radu se donose izvori kojima se potvrđuje naručitelj svijećnjaka te se analizira nastanak njihove specifične tipologije. Oni se prema načinu oblikovanja i ikonografskoj shemi, a putem sličnih komparativnih primjera, kao i grafičkih predložaka, smještaju u augsburški zlatarski krug. Teza se potvrđuje i zlatarskim žigom grada Augsburga te drugim utisnutim žigom koji upućuje na zlatara Antonija Grilla I., dokumentiranog u tom umjetničkom centru od 1668. do 1700. godine. ; The sanctuary of Our Lady of Trsat is a pilgrimage centre in the northern Adriatic visited for centuries by pilgrims and dignitaries, who brought various artefacts in fulfilment of their vows. Most of the oldest votive objects are today exhibited at the convent's treasury, but the two silver wall candelabra in question remain deposited in the convent's storage. They were first mentioned by Bishop Juraj Franjo Ksaver Marotti in 1710, who wrote that they had been donated to the convent in 1693 by the Emperor Leopold I (1658-1705). Petar Francetić and Klaro Pasconi corroborated this information, and late in the 19th century Julije Janković mentioned that they were standing on marble columns at the main church altar. In the early 20th century, the candelabra were briefly described by Riccardo Gigante, Gjuro Szabo, Apolinar Braničković, and Artur Schneider, but a scholarly study establishing the true value of these precious artefacts was still missing. The candelabra of Trsat used to hang on the wall like paintings, but today they are lacking the holders with candle plates. At their centre, formed of stylized fleshy acanthus leaves made of silver, there are shell-like cavities with applique silver busts of a Roman emperor and a young warrior wearing a helmet. The edge of the cavity under the busts is decorated with an embossed masqueron resembling a lion's head, placed between the curving volutes. By donating the candelabra to the Franciscans of Trsat, Emperor Leopold I. made a political gesture and also continued the tradition started by his predecessor Charles V (1519-1556), who had donated a golden pendulum in the shape of a two-headed eagle decorated with gems in 1536 as a symbol of Pietas Austriaca practiced by members of the Habsburg family from the first half of the 17th century onwards. Candelabra of this type were mostly produced for the private chambers or lavish salons of noble families and similar examples made of various materials are found in museum collections all over Germany and France. Even though the candelabra were intended for religious space, Emperor Leopold I was probably guided in their commission by the idea of expressing his power by iconographically relating himself to the mythology and history of ancient Rome. Thus, the figure of Emperor Augustus should most probably represent the emperor himself, while the young Roman warrior was to impersonate his son Joseph, who was to inherit the imperial throne. Hallmarks have been identified on the candelabra that had previously gone unnoticed and that positively relate them to a particular goldsmith's workshop in Augsburg. One of them has the form of a stylized pinecone, while the other shows a stork with a fish in its beak. This was the hallmark of Antoni Grill I, documented in Augsburg as a master from 1668 until his death in 1700. Even though he stemmed from a family of goldsmiths, whose members had been producing imaginative artefacts for European courts since the mid-16th century, his own identified works are preserved only in a few museums and private collections. Most of them are gilded silver plates with carefully elaborated compositions that reveal great skill in embossing motifs in various depths and their even distribution over the plate surface. The same feature is evident in the candelabra of Trsat. Grill's models possibly included drawings by graphic artists Jakob Wilhelm (Augsburg, documented since 1694-1738) and Leonhard Heckenauer (b. ca. 1655 in Augsburg, d. 1704 in Munich), who likewise belonged to the Augsburg circle of artists. Their maps contain several examples of wall candelabra, with complex compositions and a choice of decorative motifs that bear some similarities with the Trsat ones. Compared to other known examples, the candelabra of Trsat may be considered among the first cases of this typology in the goldsmith circle of Augsburg, and considering their provenance and the importance of their imperial donor, they are certainly special items in the rich heritage of artefacts made of precious metals preserved in the church treasuries of the eastern Adriatic.
