Suchergebnisse

Na temelju arhivskih izvora i onodobnoga tiska u radu se prikazuje djelovanje dalmatinskih biskupa u vrijeme Prvoga svjetskog rata pod vidikom njihova odnosa prema Habsburškoj Monarhiji i njezinu ratnom angažmanu. Prikazuje se humanitarni i karitativni doprinos Crkve u Dalmaciji društvu zahvaćenom ratnim nedaćama, kao i njezina uloga potpore Monarhiji i caru iskazana u raznim vjerskim obredima čiji je cilj – osim vjerskih nakana – bilo podizanje ratnoga morala te beskompromisno iskazivanje lojalnosti vlastima.
U kontekstu političkih gibanja posljednje dvije godine rata (od Svibanjske deklaracije 1917. do kraja rata) analiziraju se stavovi svećenstva i dalmatinskih biskupa prema političkim pitanjima, gdje se uočavaju znatna razmimoilaženja. Propast Austro-Ugarske Monarhije značit
će promjenu političkih stavova većine dalmatinskih biskupa.

U članku autor analizira odnos hrvatskoga kulturnog društva, Družbe "Braća Hrvatskoga Zmaja", čija je jedna od svrha bila njegovati uspomenu na "slavne događaje iz hrvatske prošlosti i na znamenite Hrvate", prema baštini Prvoga svjetskog rata. Pritom taj odnos promatra kroz tri vremenske faze koje su djelovale izvan ovoga društva (fazu djelovanja društva unutar Austro-Ugarske Monarhije, unutar monarhističke Jugoslavije i unutar Nezavisne Države Hrvatske) te kroz dvije faze koje su djelovale unutar društva (fazu djelovanja društva pod Emilom Laszowskim do sredine 1930-ih i fazu nakon toga). Budući da autor ovo društvo u tom razdoblju određuje kao reprezentativno hrvatsko kulturno društvo, smatra da bi njegov odnos prema baštini Prvoga svjetskog rata mogao biti i pokazatelj odnosa cjelokupne hrvatske javnosti prema tom ratu.

Autor analizira pisanje primorskih slovenskih liberalnih novina u vrijeme balkanskih ratova 1912. i 1913., prikazuje geopolitičke stavove toga političkoga kruga te ga smješta u širi kontekst sukoba različitih vizija jugoslavenstva. Specifičan položaj primorskih Slovenaca i geopolitičko značenje Trsta odrazili su se na naklonjenost toga dijela Slovenaca što širemu južnoslavenskom konceptu, koji je trebao biti poluga za slovensku političku emancipaciju. Isprva se taj dio Slovenaca zauzima za ujedinjenje južnoslavenskih naroda unutar Habsburške Monarhije, no analizirano razdoblje donosi preokret koji se očituje u ispuštanju habsburškoga okvira u prvom krugu balkanskih ratova. Drugi je
pak krug prouzročio isključivanje Bugarske iz južnoslavenskih koncepata, čime se dio primorskih Slovenaca priklanja užoj viziji južnoslavenske državne ideje sa Srbijom u središnjoj ulozi.

Polazeći od pretpostavke da se hrvatska kazališta između dva svjetska rata u kreiranju dramskoga repertoara nisu vodila samo umjetničkim nego i
političkim obzirima, autor u članku analizira inozemne i srpske drame s
temom Prvoga svjetskog rata koje su se u međuraću izvodile u tri hrvatska kazališta (u Zagrebu, Osijeku i Splitu) da bi odgovorio na pitanja kako je taj rat u tom razdoblju predstavljan hrvatskoj javnosti te kako je hrvatska javnost posredovanjem kazališne kritike reagirala na
takvo njegovo predstavljanje.

Using the available literature, press articles, and archival material, the author analyses the relationship of a Croatian cultural association, the Society of Brethren of the Croatian Dragon (SBCD), towards World War I heritage. This analysis includes the period from the beginning of World War I to the end of World War II. Since he considers the SBCD a representative Croatian cultural association in this period, the author believes that its relationship towards World War I heritage may be an indicator of the relationship of the Croatian public in general towards this war. During his research, the author noticed that this association was significantly active in all efforts whose goal was to preserve the memory of this war for future generations. After the end of World War I and the creation of the Yugoslav state, this activity almost completely ceased, and the situation did not change after the establishment of the Independent State of Croatia. The author considers that there were multiple reasons for this lack of interest in World War I heritage. Firstly, the participation of Croats in the armed forces of Austria-Hungary, which was an enemy of Serbia, was politically problematic topic in the new state and therefore avoided, especially since the new state was dominated by Serbs and built on Serbian victory culture. The political circumstances were also important in this context. If this society fostered 'soft' Croatness until the mid-1930s, striving to find a compromise between preserving Croatian national identity and respecting the Yugoslav state framework, how can one explain that the relationship of the society towards World War I remained unchanged since the mid-1930s, when a more combative Croatian spirit had spread through the society, and especially during the Independent State of Croatia? In his answer to this question, the author proposes that the symbolism of World War I, in which Croats fought on the side of Austria-Hungary—a state that was seen as a foreign entity—did not have the capacity to support ...

Polazeći od pretpostavke da se hrvatska kazališta između dva svjetska rata u kreiranju dramskoga repertoara nisu vodila samo umjetničkim nego i političkim obzirima, autor u članku analizira inozemne i srpske drame s temom Prvoga svjetskog rata koje su se u međuraću izvodile u tri hrvatska kazališta (u Zagrebu, Osijeku i Splitu) da bi odgovorio na pitanja kako je taj rat u tom razdoblju predstavljan hrvatskoj javnosti te kako je hrvatska javnost posredovanjem kazališne kritike reagirala na takvo njegovo predstavljanje. ; In this paper, the author approaches Croatian theatres as places of memory, and the foreign and Serbian war dramas performed in them as the contents of the Croatian culture of memory regarding World War I. Drawing upon the extant research on Croatian memory of World War I, based on examining the Croatian literary heritage, according to which the predominant Croatian memory was presented in Miroslav Krleža's war cycle, the author has attempted to answer the question, how did these non-Croatian war dramas on the repertoire of Croatian theatres correspond to the stated Croatian relationship towards World War I according to their contents, frequency of performance, and public reactions to them (as seen through theatre reviews)? In this sense, the author has identified three groups of non-Croatian war dramas: British (American) and French, which were characterised by prominent pacifism; Czechoslovak, which were anti-Austrian and contained a note of Czech nationalism; and Serbian, which nurtured the Serbian victory culture, but also criticised post-war Serbian society. Analysing these dramas, the author has concluded that Serbian war dramas enjoyed the strongest 'institutional support', but were also the least popular with the Croatian public. Czechoslovak war dramas received the least 'institutional support', but were the most popular among the Croatian public. Based on this analysis, the author has concluded that the Czechoslovak dramas had the most in common with the predominant Croatian memory of World War I in the interwar period; even though they did not receive much 'institutional support', they were the closest to the Croatian memory of the war in the given circumstances.

Skautska organizacija na varaždinskoj Gimnaziji bila je utemeljena na inicijativu školskih vlasti početkom Prvog svjetskog rata, neposredno pred početak školske godine 1914./15. Njezina svrha bila je pružanje pomoći pri funkcioniranju vojnih i državnih službi u ratnim uvjetima. Pomažući gradskim i državnim službama, skauti su organizirali dežurstva i kurirsku djelatnost na biciklima. Vojnicima su osiguravali okrjepu pri prolasku kroz Varaždin i snalaženje pri boravku u gradu. Posebno značajna bila je pomoć skauta pri zbrinjavanju ranjenika. Nakon završenog bolničkog tečaja, tijekom prve ratne godine obavezno su pomagali pri prebacivanju ranjenika sa željezničkog kolodvora u bolnice, njegovanju i održavanju kontakata s obiteljima. U svrhu sprečavanja zaraza, prvo je obustavljena njihova pomoć pri zbrinjavanju ranjenika, a do kraja školske godine zamrla je njihova cjelokupna aktivnost. ; The Scout organization that operated in Gimnazija – Varaždin was founded upon the initiative of the educational authorities at the onset of World War I, at the very beginning of school year 1914/1915. Its purpose was to provide help with the operation of military and civil services during war period. By helping municipal and state services, the Scouts organized watches and courier activities on bicycles. They provided soldiers with refreshment while traversing Varaždin, as well as orientation assistance while they were stationed in the town. One of the most crucial services provided by the Scouts was helping wounded soldiers. Upon the completion of a healthcare course, during the first year of the War their basic duty was to assist with the transfer of casualties from the train station to hospitals, as well as to nurture the wounded soldiers and maintain contact with their families. In order to prevent the outbreak of diseases, at first their caretaking activity was discontinued, and by the end of the year their overall activity subsided.