Suchergebnisse

Iskustvo Drugoga židovskoga ustanka protiv Rimljana znatno je utjecalo na susljedni razvoj židovske misli u pitanjima mesijanizma i eshatologije. Mesijanizam je u srednjostrujaškom židovstvu postao pasivan, što se odrazilo na političke ambicije obnove židovske državnosti, koje su nakon 135. skoro potpuno splasnule. Posljedice ustanka zbog židovskoga su shvaćanja povijesti kao relevantne za teološku epistemologiju dovele do vjerski utemeljenoga političkoga kvijetizma, zbog kojega je vjerski židovski stav prema cionizmu sve do nedavno odražavao izrazitu nesklonost. Do promjene u tom stavu počelo je dolaziti iz istoga razloga, a to je povijesno iskustvo osnutka i obrane Države Izrael. ; The second Jewish revolt against the Romans has significantly influenced the shaping of subsequent Jewish messianic and eschatological thought. Largely due to the Revolt, mainstream Judaism has adopted a passive messianic attitude, and Jewish ambitions to reestablish statehood in Palestine has almost entirely subsided. Historical experience of the Bar–Kokhba revolt combined with the Jewish perception of history, as relevant to theological epistemology, has produced faith–based political quietism which marked Judaism for centuries. The attitude of religious Jews to political Zionism, when it first appeared, was very averse and remained such until rather recently. Change in the attitude was prompted by the same reason, which is historical experience of the establishment and defense of the State of Israel.

Stjecanjem povlastica slobodnoga i kraljevskoga grada započelo je novo razdoblje osječke povijesti. Promjene su se ponajviše ticale funkcioniranja gradske uprave u novim pravnim i društvenim okolnostima. Dosadašnja rijetka istraživanja onovremene osječke upravne povijesti u pravilu su se zadržavala na ustrojstvu i nadležnostima tamošnje gradske općine. U ovom radu autori su se bavili pitanjem sastava i značajki prve uprave slobodnoga i kraljevskoga grada Osijeka, koja je s radom počela u kolovozu 1809. godine. Na temelju gradiva osječkoga poglavarstva autori daju povijesni i pravni kontekst izboru i imenovanju članova uprave te analizu njihovih sociodemografskih karakteristika zabilježenih primarno u evidencijama građana. ; When the city of Osijek received the charter of privileges and became a free and royal city in 1809, a new stage in its historical and legal development began. Although the citizens' request for the charter from the Emperor Francis I was probably mainly motivated by the presumed prospects of the economic development, as it arrived rather late, i.e. some four decades before the feudalism was abolished in the Habsburg lands, its effects were mostly of legal and administrational nature. This is probably why the few works that cover the topic of Osijek's municipal history in the first half of the 19th century mainly deal with issues such as legal status of the Free and Royal City of Osijek and its citizens, the organisation of the local authority, etc. Although these historical aspects are indeed crucial to understanding the role of the local authority in the broad system of public (state) administration, as well as in the community, there are others that could complement our knowledge in that respect, such as the influence of different political, ideological, demographic and cultural factors. Among them are sociodemographic characteristics of the members of the city government. Besides an overview of the historical events prior to the election and appointment of the first government of the Free and Royal City of Osijek, the legal context and its organisation, as well as the very process of election, the authors analyse the sociodemographic characteristics of its highest-ranking members. The analysis included 57 officials and administration officers, i.e. 7 members of the City Council (Magistrate), 40 members of the Elected Commune (Assembly) with its President, and 9 other heads and deputies of the most important offices and services. Characteristics recorded in the registries of Osijek's citizens that were in focus of the research were the nobility status, religion, profession and place of origin. Combining the results and the official criteria for the election of the local authority officials and officers, the authors suggest that the leading criteria were the education and former work experience in the public administration. This is, of course, related to the social standing of the individuals, because the elites traditionally had better education and better overall access to public positions. Consequently, the majority of nobles and intellectual workers among the citizens were elected or appointed to a position in the local authority. Two most represented groups (equal in numbers) were merchants and craftsmen, but if we look at the overall population of people with citizen status, there were three times more craftsmen than merchants, which means that the latter were, relatively speaking, more represented in the local administration, as their social status was generally better. The only two religious groups that could apply for Osijek's citizenship were members of the Roman Catholic and Eastern Orthodox communities. The latter, as a minority, was a slightly underrepresented, but within the limits of the obligatory one quarter of the representatives in the Elected Commune. The place of origin had little or no influence on the election and appointment of members of the local authority, but it clearly portrays the City of Osijek as a multi-ethnic and multi-cultural community in which the citizens that came from other parts of the Habsburg Monarchy or even outside of it were well integrated.

Utemeljen na polazištima kritički orijentiranih sigurnosnih studija i studija terorizma, rad propituje metodološke, epistemološke pa i ontološke aspekte fenomena državnog terorizma. Tvrdi se kako je državni terorizam sustavno zanemareno područje znanja o terorizmu, iako je empirijski vrlo evidentan fenomen. U prvom dijelu rada propituje se klasična i suvremena politološka, sociološka, pravna i filozofska misao važna za razumijevanje države, sigurnosti, terorizma i državnog terorizma. Počevši od Weberove definicije države kao nositeljice monopola na nasilje i njegova koncepta razlikovanja vladavine (Herrschaft) i sile (Macht) tvrdi se da monopol na silu ne podrazumijeva korištenje svakog oblika sile i da država ne može biti ekskulpirana u situacijama kada koristi silu koja ima sva obilježja terorizma. Upravo za ključnim obilježjima terorizma traga se u drugom dijelu rada gdje se analizira postojeće znanje o terorizmu i državnom terorizmu. Na temelju postojećih definicija koje čine bazu od ukupno 373 definicije, sadržajnom i frekvencijskom analizom, dolazi se do operacionalne definicije terorizma i državnog terorizma. Izlučenih šest konstitutivnih elemenata terorizma ukazali su da je državni terorizam organizirana upotreba sile i nasilja ili prijetnja upotrebom nasilja kojom se posredstvom intencionalnog širenja straha odnosno terora, a na temelju anticipiranih reakcija širih psiholoških učinaka, nastoje ostvariti politički ciljevi, a kojega provodi i/ili sponzorira država. U fokusiranoj studiji s mnogo slučajeva u trećem dijelu analizira se državni terorizam na empirijskim primjerima dvadeset i jedne države (N=21). Slučajevi su selektirani na stogodišnjem dijakronijskom kontinuumu, počevši od 1914. godine i sarajevskog atentata na austro-ugarskog prijestolonasljednika Franju Ferdinanda pa do recentnih primjera protuterorističkih politika. Kroz povijesnu perspektivu, komparativnom metodom uz primjenu dizajna najrazličitijih slučajeva, potvrđena je polazna pretpostavka: terorizam jest ciljno racionalno sredstvo za postizanje političkih ciljeva država i njegova je pojavnost neovisna o tipu političkog režima. Kvalitativna i kvantitativna obilježja državnog terorizma nerijetko se razlikuju kako između tako i unutar triju poduzoraka (režima), no usprkos kontekstualnim razlikama, može se utvrditi da je u totalitarnim režimima državni terorizmu ekstremnih razmjera i predstavlja važnu polugu vladavine, dok je u autoritarnima, a napose u demokratskima riječ o fokusiranijem državnom nasilju, najčešće sa specifičnim oblicima djelovanja. ; The basis of this doctoral work rests on the fact that the state terrorism is ignored in the context of mainstream security and terrorism knowledge. Security studies as well as rapidly growing terrorism studies are predominantly focused on non-state terrorism. Critical voices which indicating the importance of the state terrorism phenomenon have emerged in the mid-1990s. Based on the starting points of critically oriented security studies and terrorism studies, this work analyzes the methodological, epistemological and even ontological aspects of the phenomenon of state terrorism. It is argued that the state terrorism is systematically neglected area of knowledge, although it is very evident phenomenon. In the first part of this doctoral work the classical and the contemporary political, social, philosophical thought and jurisprudence important for the understanding of the state security, terrorism and state terrorism have been examined. Max Weber's concept of the state and difference between legitimate domination (Herrschaft) and coercive power (Macht) in the exercise of sovereign state functions is at the center of theoretical discussions. We claim that this distinction remained outside of much Western scholarship. Their concepts are based on logic of what the state and its relations to society should be not what it is. In contrast to this mainstream normative oriented model we examine the empirical reality which is laden of state terrorism examples. Therefore, the second part of this work is dedicated to analysis of existing knowledge about terrorism and state terrorism. The emphasis is on the definitions of terrorism, so for this purpose the database of 373 terrorism definitions was constructed. Definitions collected from the scientific and academic sources, the expert sources, the available official sources of various institutions and organizations, news, etc. were subjected to content and frequency analysis. Those analyses indicated six key elements used for defining state terrorism, which is relevant to the selection of empirical cases. It is found that the state terrorism is the use of organized force and violence or threat to use violence as a means of intentional spreading fear and terror based on the anticipated reactions of broader psychological effects which seeks to achieve political objectives and which is conducted and/or sponsored by the state. It is not an ideology, but the strategy and tactic that can be used by all, including the states. Despite the fact that the most of the definitios are actor-neutral and that their contents coincide, there is no unified definition. According to such understanding, the third part is a focused study with a lot of cases (N=21) where the unit of analysis was state terrorism and analytical sub-units were states (cases) selected from the one century time span (1914th-2014th) complemented with the most recent cases (until the end of 2016th). Thus, it is a diachronic analysis (cross-historical analysis). Since the selected cases differ in several relevant independent variables (social, economic, geographic, cultural) the comparative analysis is based on the most different systems research designs. The basic criterion of comparison was the regime (totalitarian, authoritarian and democratic) in accordance with the tipology of Juan Linz. The main aim of such typology and case selection was to test the general thesis: terrorism is an integral instrument of state action that occurs in all types of political regimes and which states used/use as a form of rational choice to achieve their goals. The third part includes political and sociological analysis of primary and secondary sources for each case (state). The analysis of state terrorism included Italy during Mussolini, Nazi Germany, Lenin and Stalin Russia/Soviet Union, communist Poland, Mao Zednog's China, North Korea regime and Idi Amin's Uganda as a totalitarian regimes. The second group of states are, according to Linz proposal, authoritarian regimes. Here is a Serbian example of state sponsored terrorism in Sarajevo 1914 and assassination of Archduke Franz Ferdinand. Another example is Yugoslavia from the mid of 1960 even if it is not purely clear is it predominantly totalitarian or authoritarian regime. Other examples are the rule of Francisco Franco in Spain, death squad in Argentina, Gaddafi's Libya, the rule of Shah Reza Pahlavi in Iran and Suadi Arabia sponsoring of terrorism. Within a democratic cluster the United States of America, Israel, United Kingdom, France, Russian Federation, modern Turkey and Macedonia were analysed. The main findings in turn suggest that the state terrorism was/is practiced in totalitarian, authoritarian and democratic systems, was/is used in war or peace, was/is used by the rich and the poor countries of different cultural, political, economic, geographic and other features. In other words, terrorism is an universal form of state action, but the specific context of each of the analyzed cases does not provide the right to generalize or compare countries according to the basic independent variables - the type of regime. Divided societies and various social cleavages like political (ideological), ethnic, cultural, language, religious, economic and other are evident in the most of the internal state terrorism cases. Although the contexts of countries are quite heterogeneous, in each case analyzed rationality is a common feature of state terrorism. Statet are trying to achieve political goals in the most effective way, what is decisively for using a specific form of violence or threats of violence that we call terrorism. Although it is one of the most frequently used terms in the social sciences, it is evident that terrorism is not conceptually cleared. It is deeply socially constructed concept which depends on a variety of interests. This also affects the contemporary counterterrorism policy. Within the science and policy, terrorism is predominantly viewed as a war and/or criminal. Terrorism is not treated as a phenomenon that is generated from the political area and counterterrorism policies do not target the real causes of terrorism. The perspective of terrorism as a war and crime which is imposed by politics that cooperates with science, leads to a spiral of violence. Illegal and immoral state counterterrorism actions lead to the even more brutal reactions of non-state groups. This trend is especially noticeable from September 9/11 when the "war on terror" started. From this moment it is especially evident that in the name of national security, the degradation of democratic values and endangering human rights and civil liberties have begun. This is best reflected in the new security policies, counterterrorism laws and the state of emergency institute. Also, the democratic deficits are obvious in the examples of interventions in other countries. Illegal character of the war in Iraq shows that international law is not a guarantee nor law nor justice. Those are some contemporary examples of state illegal actions which could be classified as state terrorism in democratic states, but the history is full of state terrorism evidence. Totalitarian and authoritarian regimes in the 20th century, as well as some actual examples, suggesting that the scientific community is biased and ignores the important historical facts as well as contemporary trends. By securitization of terrorism concept, the state harnessed science to its own interest – first of all creating counterterrorism policies. Instrumented science can act only within the limits defined by the state. The main characteristic of the joint state and scientific activity is hypocrisy where identical phenomena do not have identical names. State and science are taking a morally superior position, so state terrorist actions are called "necessary security measures", and terrorism as a pejorative term is reserved only for non-state actors. Further scientific and political ignoring of state terrorism topic, denying a unique definition of terrorism, refusing the recognition of state crimes that fall into the category of terrorism and insistence on counterterrorism as war strategy only feeds the modern evil of non-state terrorism. As long as there is not a change of paradigm in which the force will be firmly under the auspices of the law and policy of double standards will not exist, it is not realistic to expect that the state will eliminate the problem of contemporary non-state terrorism.

Autor pokazuje kako se stil Božidarevićeva slikarstva može analizirati kao reprezentativna građa za povijest dubrovačkog društva1500-tih godina, premda se Nikola ustezao od prodornijeg promatranja svog unutarnjeg svijeta i onog vanjskog koji ga je okruživao, dočim se moglo očekivati (obzirom na njegov temperament i budući da je radio po narudžbi kapetana i trgovaca globe-trottera) da mu slike budu proviđene s više detalja onodobne vidljive stvarnosti. ; He signed himself in brush strokes only twice as: Nicolaus Rhagusinus, Nicolo Raguseo- Nikola of Dubrovnik - once in a marble medallion under the arm of Gabriel in the middle of the Annunciation, which he painted in 1513 forthe Đorđić family, the second time at the foot of the Virgin's throne on the main altar retable in the Church of Our Lady of Dance, his last work (1517). This name, until the archival discovery of his Croatian family name, fired the imagination of those researching Dubrovnik Renaissance art and even became a kind of myth. To call himself Rhagusinus in the middle of Dubrovnik undoubtedly meant a self-confident declaration vis a vis his artistic contemporaries- especially Mihajlo Hamzić and Vicko, the son of Lovro Dobričević,and even perhaps in relation to his own father whose workshop he had just left. When we stand today in front of polyptychs of this kind (which, when preserved in full, amaze us by the perfect balance of their general composition) we rarely think that they were created as bricolage. Immediately after Nikola's return from Italy he, and his father Božidar Vlatković received several very large orders. In 1495 they were given a contract for the retable of the main altar of the Franciscan church in Cavtat. The church authorities required that the central composition and figures on the left side should be composed according to the pattern of a polyptych executed almost half a century earlier by Matko Junčić in the church of the Minorite Friars in Dubrovnik, while figures on the right side were to be done according to the pattern of another altar in the same church. The saints in the upper part of the polyptych, shown down to the waist, were to be done after Junčić also, and only the central Pieta according to an earlier painting by Božidarević. The same is true of their style. Experts have very easily "reduced" Božidarević's work into the style and themes found in the Crivelli brothers and Vittore Carpaccio. But Božidarević obviously also knew the fresco paintings of Perugino and Pinturichio in the Vatican palace (Appartamento Borgia)and elsewhere in Rome where his brush may, according to Vladimir Marković, have indeed been involved. The form of a polyptych (like the form of a sonnet) helps in the construction of a figural composition, in a rationally and symmetrically balanced composition. It equalizes lighting, concentrates sight and attention: even when its constructional elements are removed, which make the composition of a polyptych, it continues to make an invisible effect for a long time. By 1500 the form of the polyptych which the "Dubrovnik School of Painting" retained until the end had become a Procrustean bed. It did not allow figures to be shown in a natural context, to be enlivened by being shown with real appurtenances, nor for any relaxation of stiff postures, or any easier breathing. Thus in Božidarević's paintings the representation of real life and the movement of the real world is only found in miniatures, on the borders of polypthychs, in "footnotes" on individual articles or when we study details "microscopically". In fact it is drapery which is the most convincing and arresting and almost tactile element of Božidarević's painting. Just as we perceive the bustle of the harbour on the model of Dubrovnik held by St Blasius so too he was fully aware of the richness of the materials which were produced at this time in Dubrovnik. Cloth was as important as salt for the trade of Dubrovnik and was a very tangible asset in the consciousness of the city. It may be paradoxical but it is accurate to say that Božidarević did not paint portraits (using patterns of characters) but portrayed materials in which his saints were clothed. It is of significance in this context that the most outstanding assistant in his workshop for which in 1507 he rented a whole floor in one of the mansions on Placa, suitable because of its good light - was Marin Kriješić who is recorded in one of the archives as "pictor sive coltrarius", painter of pictures, curtains, covers and cloth. When we consider Božidarević's landscapes we also notice a paradox. The endless journeys of the Dubrovnikians, constantly involving the sea, did not give rise to the desire to extend the picture to include real landscape even in those ordered by ship's captains, merchants, or globe-trotters. But it would have been unrealistic to expect Nikola Božidarević to show the Annunciation in Kolendić's Lopud landscape. Instead he presents the stereotyped picture of the humanists' idea of Arcadia but omitting Bellini's ploughmen and donkeys. This is no bucolic Virgilian landscape as created in the circle surrounding Giorgione - no mundane Utopia in which we might like to live. Behind Gabriel the landscape is wild and rough, behind Our Lady it is cultivated, these are more symbolic, antithetical rather than any true mise-en scene. When we first come to Božidarević's paintings we may be surprised by the fact that in spite of the very real situation within which they developed, there is a lack of any penetrating observation of either inner or outer worlds. Where details appear they largely represent a sanctified aspect of reality: spiritualiasub metaphoris corporalium, as Thomas Aquinus would say. The political, diplomatic, commercial realism of the people of Dubrovnik was, surprisingly enough, very late reflected in an art which served symbolic ends. Considered from this angle the architectural presentation of the city has something in common with butterflies which have great black eyes on their wings in order to make an impression on their surroundings and themselves. Thus in Božidarević and his predecessors we shall find no dark allegory, as measured by today's art critics, but a clear and balanced representation of the Bible message. These polyptychs provide a view of many kinds of fear (of heaven, of the sea, of plague, of Turks of all kinds, of oneself), and also of much hope. The four paintings by Božidarević which have come down to us are typologically different. This only shows us how impoverished we are not to have his entire opus. All four of Božidarević' surviving paintings were private votive offerings. Their subject must therefore be read according to the wishes of the person who ordered them. It is often considered, taking into account their formal superioriy that the Sacra conversazione of the Đođic painting and the Annunciation done for Captain Marko Kolendić are the "measure" of Božidarević's painting. If the former is his first example of a particularly popular Renaissance composition in Croatian art history, the second is his first independent central altar painting. Private orders in Dubrovnik of the time continued to demand the traditional religious, especially votive themes. But in the wider sphere new, more secular, opportunities presented themselves. A study by Vladimir Marković shows this programme to have arisen out of a combination between political intentions and the moral principles of the patrician oligarchy which coincided and were identified with the Renaissance view of Christian and especially with the classical Roman exempla. Božidarević was the contemporary of poets Džore Držić and ŠiškoMenčetić, of Mavro Vetranović. Marin Držić, the most successful writer of Dubrovnik's "Golden Age" was born when Nikola was in prison for the ribald songs. But we cannot but feel that the painter's temper remains hidden behind the porcelain surface and perfect outer symmetry of his compositions. The Dubrovnik context did not provide opportunities for the expression of strong passions. The demands for caution and order were unremitting. There might be considerable personal pride but there must never be bragging. It was not a setting for great philosophy or poetry, nor for tragedy, but for the natural sciences, economics and- along with them- comedies. Unfortunately Dubrovnik painting was fated to disappear almost unnoticed, with no fanfares or real apogee, to be drowned in the import of baroque art from the other side of the Adriatic. When we talk about Dubrovnik, the Renaissance is our first association, but the Renaissance in Croatian painting never managed fully to develop. Indeed Gothic was never fully relinquished but, rather, gradually disintegrated. Its place was taken by the counter Reformation, together with a whole packet of ready-made solutions, before the Renaissance had managed to achieve full definition. We cannot experience Nikola's paintings as Renaissance building blocks cut out from the reality of their own day. We may rather consider them as tables bearing rich fabric. His saints, enveloped in brocade, standing before an azure sky, are sunk in timeless melancholy. They are depicted in an indeterminate context as they appeared to the eye of the painter - without any later addition of colour. They did not attain the position of an academic standard for the Dubrovnik painting of the period that followed. Božidarević went ad patraim paradisi the same time as Mihajlo Hamzić, son of the German immigrant Hans, a "bombardiere" from Cologne, and Vicko Lovrin, son of Dobričević. The sudden and complete change of generations coincided with a fundamental change in the taste of the rich commercial class when it began to turn to the artists of the Bellini and Titian circle. The colours of Božidarević's painting are the most harmonious chords of Dubrovnik's "Golden Age". Of the one hundred and fifty polyptychs registered at the time of Sormano's apostolic visitation in 1573 less than one tenth remain. The Dubrovnik archives record seventeen works by Božidarević but only four have come down to us. In old cities such as Dubrovnik - colour, like everything else except stone, is recessive. What we have today is an idealized impression of what was once reality.