Suchergebnisse

Autocenzura je oblik cenzure o kojemu se puno ne govori niti istražuje. No, pojavljuje se, kako u totalitarnim tako i u demokratskim društvima, kroz čitavu povijest pisma, izdavaštva i slobode govora. Od povijesnog pregleda preko razmatranja različitih vrsta, načina provedbe, moralnih aspekata i dualne funkcije autocenzure dolazi se do konkretnog oblika promišljene autocenzure. Ona stvara posebnu tehniku pisanja "između redaka" koja poruku unatoč ograničenjima, uspijeva prenijeti od autora do inteligentna čitatelja služeći dodatno kao zaštita od oštre cenzorske ruke. Takvom su se tehnikom, među ostalim, koristili autori Encyclopédie ou Dictionaire raisonné des sciences, des arts et des métiers (1751 – 1772). Predvođeni Denisom Diderotom, takozvani Enciklopedisti, u vrijeme prosvjetiteljstva borili su se za sekularizaciju mišljenja, suprotstavljanje religijskom autoritetu i za bolje obrazovanje svekolike javnosti. Unatoč stalnom nadgledanjima i zabranama izdavanja uspjeli su uz pomoć autocenzure prenijeti svoje heterodoksne poruke. U zadnjem dijelu rada, analizom sadržaja tekstova Encyclopédie prikazani su izravni primjeri autocenzure. Suvremeni se svijet ni danas nije oslobodio cenzure i autocenzure, osobito prisutnih u medijskome svijetu, stoga borba protiv kontrole i zabrane još uvijek traje. ; Self-censorship is a form of censorship that is not much talked about or explored. But it emerges, both in totalitarian and democratic societies, throughout the history of scripture, publishing and free speech. From historical overview through analysis of different types, modes of implementation, moral aspects and dual function of self-censorship, arises a concrete form of deliberate self-censorship. It creates a special "between the lines" writing technique that, despite its limitations, manages to convey the message from an author to an intelligent reader, further serving as protection against the blade of censorship. This technique was used, among other things, by the authors of The Encyclopédie ou Dictionaire ...

Reporters' work from a country at war is eventually subjected to censorship. That the job of war correspondents is dangerous has been proved by the number of journalists who are killed every year & by certain "rules of wartime journalism." The article looks into some forms of wartime censorship in the earlier NATO military actions, describes the censorship during the aggression on the Republic of Croatia, &, on the basis of the available information, addresses the relevant situation in SR Yugoslavia. When this article was written (May 1999), NATO's military intervention in that country was still going on; consequently, newspaper censorship was still very much in force there. 25 References. Adapted from the source document.

U radu autor prikazuje povijest časopisa Knjiga i čitaoci, koji je bio namijenjen knjižnicama u Hrvatskoj. Kako su glavni prilozi u časopisu bili popisi novih knjiga u knjižnicama te prikazi odabranih novih naslova, časopis je imao izuzetno veliku ulogu u politici nabave novih knjiga za knjižnice. U dvanaest godina postojanja časopis je u popisima novih knjiga naveo svega desetak knjiga koje su sadržavale temu kršćanske vjere, a neke od tih knjiga napisali su marksisti. Uredništvo časopisa postavilo je kao uzor svakome knjižničaru vođu Oktobarske revolucije Vladimir Iljiča Lenjina, koji je smatrao da knjižnica ne vrijedi onoliko koliko ima starih i rijetkih knjiga, nego koliko ima knjiga koje promiču ideje boljševičke revolucije. Stoga je časopis zagovarao "socijalističkog bibliotekara", knjižničara koji pomoću knjiga promiče ideje socijalističke revolucije. Izdavanje časopisa pokrenuo je 1967. Savez ustanova i organizacija za širenje knjige SRH pri Prosvjetnom saboru SRH, od 1968. suizdavač je Društvo bibliotekara Hrvatske, od 1970. jedini je izdavač DBH, koje je 1971. promijenilo ime u Hrvatsko bibliotekarsko društvo. U prve dvije godine izlaženja ključnu ulogu u uređivanju časopisa ima je Vinko Lalić, tajnik Saveza ustanova i organizacija za širenje knjige SRH, kasnije su glavnu ulogu preuzeli knjižničar Knjižnice Božidara Adžije Mijo Haramina i Dubravko Štiglić, knjižničar Gradske knjižnice u Zagrebu. U završnom dijelu članka autor navodi niz knjiga koje je u razdoblju od 1967. do 1979. objavilo Hrvatsko književno društvo sv. Ćirila i Metoda, a o izlasku kojih je propustio obavijestiti knjižnice časopis Knjiga i čitaoci. ; In this paper, the author presents the history of the Journal Knjiga i čitaoci (Book and Readers), intended for libraries in Croatia. As the main additions to the Journal were the lists of new books in libraries and description of selected new titles, the Journal had an extremely important role in the policy of the library's new acquisitions. In the twelve years of Journal's existence, in the lists of new books, the Journal has listed only a dozen books which addressed the topic of Christian faith, and some of these books were written by Marxists. The editorial board of the Journal considered the leader of October Revolution, Vladimir Ilich Lenin, a role model for every librarian, as he believed that the value of libraries was not the number of old and rare books they hold, but rather the number of books which promote the idea of Bolshevik Revolution. That is why the Journal advocated a "socialist librarian" – a librarian who promotes the ideas of the socialist revolution through books. Publication of the Journal started in 1967. "Savez ustanova i organizacija za širenje knjige SRH" (Institutes and Organizations for Book Popularization Association of SRH), with "Prosvjetni sabor SRH" (The Education Council of SRH), Association of Croatian Librarians has been the co-publisher since 1968, and the sole publisher since 1970 was DBH, which, in 1971, changed its name to the Croatian Library Association. In the first two years of publishing, Vinko Lalić – secretary of the Association of Institutes and Organizations for Book Popularization of SRH, held the key role in Journal editing, followed by librarians from the Zagreb City Libraries - Božidar Adžija, Mijo Haramina and Dubravko Štiglić. In the final part of the article, the author lists several books published by "Hrvatsko književno društvo sv. Ćirila i Metoda " (Croatian Literary Association of St. Cyril and Methodius) in the period from 1967 to 1979, about which the libraries were not informed.

Ovaj rad bavi se fenomenima hereze i pravovjerja, prisutnim u svim društvima u povijesti čovječanstva. Pravovjerjem smatram pristajanje na postojeću društvenu strukturu, vjerovanje u istinu centara moći, dok je hereza sve ono što je pripadajuće domeni kritičkog promišljanja. Cenzura, sustavna kontrola slobode mišljenja sastavni je dio vođenja države, i s obzirom na razvoj i promjene u društvu, ona poprima različite vidove, različita "lica." Kontrola se pojačava u kriznim razdobljima. S razvojem društva, metode postaju netransparentnije. U razvijenim demokracijama najefikasnija kontrola je kontrola misli, njome se bave veliki sustavi nadziranja, zajedno sa sustavima indoktriniranja (mediji, obrazovanje, religija). Sustavi indoktrinacije uče što trebamo misliti i koje vrijednosti zastupati. Odbijanje povlači sankcije. Ono što nije sukladno smješta se u domenu zabrane. U razvijenim demokracijama cenzura je zakonom zabranjena, ali se provodi na druge načine. Autocenzura, reakcija je autora na represiju te tzv. "tiha cenzura", zanemarivanje je pa time uklanjanje nepoćudnih sadržaja, umjesto prijašnjih zabrana i krivičnih progona. Danas sve aspekte ljudskog stvaralaštva regulira tržište, intencija je totalna kontrola. Javni prostor popunjava se trivijalnostima i zabavom, za istraživačke i kreativne sadržaje izostaje "potražnja" pa time i prostor u medijima. ; Heresy and orthodoxy are immanent to all regimes, totalitarian and democratic. Denying of critical thinking manifests itself in so far as the regime feels threatened by opponents, and censorship, systematic control of freedom of thought is an integral part of running the state. Control increases in times of crisis. With the development of society, methods become less transparent. In developed democracies, the most effective control is thought control, and big monitoring systems, together with the systems of indoctrination (media, education, religion), are involved in it. Systems of indoctrination teach us what to think and what values to represent. Refusal withdraws sanctions. What is not in accordance, is placed in the domain of the ban. In developed democracies, censorship is prohibited by law, but is carried out in other ways. Self-censorship, the reaction of authors to the repression, and the so-called."silent censorship", is ignoring and thus removing undesirable contents, instead of the previous prohibition and criminal prosecution. Today all aspects of human creativity are regulated by the market, the intention is total control. The public space is filled with trivia and entertainment, for research and creative contents a "demand" is absent, and thus the space in the media.

One of the central notions of the post-Yugoslav literature is the status of democracy in national states formed after the breakup of Yugoslavia. From the perspective of the exile, not only as banishment, but also as a liberating outside view into the once common social, cultural and political space, the post-Yugoslav writers question the social democracy praxis in their former home states comparing it to the social practices in the states of their current residence. In her books of essays, Dubravka Ugrešić ironizes different forms of social ideology in Croatia from the beginning of nineteen-nineties. Her writing recognizes the standards of European democracy accompanied with the ideological view into the questions of social rights, religion and language as the stumbling block of modern society. Ugrešić describes democracy as a notion hiding different things: the praxis of ruthless capitalist exploitation, loss of media freedom, media manipulation, the censorship of corporate capitalism, production of lies, modern slavery. (Don't take it personal, 2014), validating in her essays the importance of literature in disclosure of autocracy masked as democracy. ; One of the central notions of the post-Yugoslav literature is the status of democracy in national states formed after the breakup of Yugoslavia. From the perspective of the exile, not only as banishment, but also as a liberating outside view into the once common social, cultural and political space, the post-Yugoslav writers question the social democracy praxis in their former home states comparing it to the social practices in the states of their current residence. In her books of essays, Dubravka Ugrešić ironizes different forms of social ideology in Croatia from the beginning of nineteen-nineties. Her writing recognizes the standards of European democracy accompanied with the ideological view into the questions of social rights, religion and language as the stumbling block of modern society. Ugrešić describes democracy as a notion hiding different things: the praxis of ruthless capitalist exploitation, loss of media freedom, media manipulation, the censorship of corporate capitalism, production of lies, modern slavery. (Don't take it personal, 2014), validating in her essays the importance of literature in disclosure of autocracy masked as democracy.

Ovaj diplomski rad bavi se razdobljem pozitivizma u Poljskoj koje je trajalo od 1863. do 1890. godine. U radu se opisuje društveno-politička situacija u Europi i njezin utjecaj na Poljsku koja je još 1795. bila podijeljena na austrijski, pruski i ruski dio. Objašnjavaju se zatim temeljni pojmovi programa poljskog pozitivizma. Osim društveno-političke scene, riječ je i o pozitivizmu u poljskoj književnosti, o vrstama književnosti kao što su tendenciozna i agitacijska književnost, te o cenzuri. Pozitivizam u sociologiji utemeljio je Auguste Comte u svome djelu "Zakon triju stadija". Poljski pozitivisti preuzeli su neke vrijednosti i prilagodili pozitivizam svojim potrebama. Promjene u Europi potaknule su politička previranja u Poljskoj: želju za asimilacijom Židova, ali i rast antisemitizma te emancipacija žena i seljaka. Prikazani su također problemi društvenih skupina koje nisu imale status poljskog plemstva. ; This graduate thesis deals with the period of positivism in Poland (1863 – 1890). The theisis addresses the socio-political situation in Europe and its impact in Poland, which was divided in 1795 into Austrian, Prussian and Russian part. The basic concepts of the Polish positivism program are explained. Apart from the socio-political scene, it is also about positivism in Polish literature, about types of literature such as tendentious and agitational literature, and about censorship. Positivism in sociology was founded by Auguste Comte in his work "The Law of the Three Stages". Polish positivists have taken on some values and adapted positivism to their needs. Changes in Europe have fueled political turmoil in Poland: the desire to assimilate Jews, but also the rise of anti-Semitism and the emancipation of women and peasants. Problems of social groups that did not have the status of Polish nobility are also presented.

Od ukupno pet poznatih bojnih listova barem djelomične hrvatske provenijencije, list Sudrug zagrebačke 25. domobranske pješačke pukovnije jedini je gotovo u cijelosti dostupan istraživačima. Od 25. rujna 1915. do 24. listopada 1918. tiskana su ukupno 84 broja, uglavnom na ruskom, manjim dijelom na talijanskom bojištu, opsega četiri do 16 stranica, u nakladi po svoj prilici manjoj od 100 primjeraka, pri čem su borbe narušavale planirani tjedni tempo izlaženja. Glavninu brojeva uredio je pričuvni natporučnik Ivo Klučka, inače zagrebački gimnazijski profesor, među suradnicima bili su Branimir Knežević, Milivoj Jambrišak, Rikard Kraus i Kosta Premužić, no većinu prinosa potpisali su danas nepoznati dočasnici i domobrani, a dio je ostao skriven iza pseudonima. Autorova raščlamba tematskih slojeva, odjeka i recepcije Sudruga zasnovana je na inozemnim radovima o sličnim vojničkim listovima te na hrvatskoj literaturi o usmenoj, pučkoj i popularnoj kulturi. Zaključno, ustanovljuje se da je riječ o vrijednom izvoru za raznolike pristupe književne, kulturne i vojne povijesti, kojega bi valjalo uzeti i kao poticaj za produbljenija istraživanja. Kao ilustracija poetičkoga šarenila Sudruga, prijepis deset u njem objavljenih izvornih pjesama dan je u prilogu. ; In many ways, Croatian experience of the First World War has for decades been a neglected theme. Among other things, a total of five trench journals (Feldzeitungen, bojni listovi) are known to have had existed, but only that of the Zagreb-seated 25th Home Guard Infantry Regiment, the Sudrug (Comrade), is almost completely preserved, and available on the Croatian State Archives website. Starting on September the 25th 1915 and ending on October the 24th 1918, a total of 84 issues of Sudrug have been published, varying from 4 to 16 pages, and probably with a circulation of less than 100 specimens. Projected rate of publication was once a week, which was mainly sustained, apart from the serious setbacks caused by the 1916 Brusilov and the 1917 Kerenski offensive, and also by the 1918 fighting on the Italian front. As the journal was conceived under the auspices of the 25th Home Guard Infantry Regiment Headquarters, for most of the time edited by one Ivo Klučka, Oberleutnant in der Reserve and otherwise a highschool teacher of Croatian and Classic languages, all of the available 1915–1917 issues were printed somewhere on the Russian front (probably in the close vicinity of the Regimental Headquarters), while the preserved 1918 issues were printed by the Austro-Hungarian 11th Army press department in the occupied region of Italy. Apart from Klučka, who had been a lesser known teacher without registered civilian bibliography, only several of the contributors were to a degree notable individuals, all of them at least for a brief period serving in the 25th Regiment: writer Branimir Knežević, physician and politician Milivoj Jambrišak, biologist and geographer Rikard Kraus, lawyer and war correspondent Kosta Premužić. Practicaly all other contributors of Sudrug were either simple NCOs and common soldiers whose names don't tell us much, or they had even decided to stay hidden behind the pseudonyms. As far as the ideological-political layer of Sudrug is concerned, generally it could be said that it followed the official Habsburg line, but with some alterations, presenting – or, more often, just hinting – a somewhat »nationalized«, Croatian view on the Monarchy, the armed forces in general, and the more specific Croatian national interests. Much more elaborated was the educational layer of Sudrug, reporting not only on the current advances in military technology and tactics, but also on hygiene, legal questions, national history, geology etc. Most of the epic poetry, short-stories and essays dealt with either real or fictionalised battlefield events, mainly influenced by the oral folk tradition, but some also had certain expressionist traits. As a general rule, enemy rulers were frequently mocked at, but enemy soldiers – apart from pretty much demonized Russian Cossacks – were seldom derogatory treated. Similarly, liric poetry of Sudrug was more often on the rather simplified romanticist track, including two or three possible cases of avantgardism. Themes and tones vary from the expected (patriotism, perseverance, vengeance of fallen comrades, devotion to family, religious consolation…) to rather unexpected ones (meaningless suffering, pessimism, betrayal by beloved persons, unconditional pacifism…). Although not decisive, such a shift is clearly discernible as the war progressed. Particularly revelatory is a large section dedicated to humour, as the jokes and funny verses (mainly in the Croatian kajkavian dialect) tended to convey both happy and unhappy moments of the soldier's life, ranging from lice and monotonuos food to fatherly commanders and home leave. Interestingly, the absence of women was not so much coped with eroticism, as with mysoginistic utterances of a sort, culminating in a description of a would be physical punishment of an unfaithfull spouse. Also, most issues of Sudrug contained a section dedicated to the more serene regimental news such as decorations or promotions, and also to the memorial activities, such as the regimental frontline cemeteries and the Zagreb-seated regimental museum. Finally, there was also an enigmatics section, some of the correct answers bringing cigarettes, pocket watches and other officer-donated prizes. In spite of the primitive printing technique (»hectography«), many of the issues were illustrated with Art Nouveau vignettes, heraldic variations, caricatural portraits and even some short comic cartoons. Presumably, as the Sudrug had not been significantly distributed outside the battlefield and the 25th Regiment, its content was outside regular censorship as well as out of traditional high culture criteria. Although neither the contributing circle nor the reception of Sudrug had been as wide as the editors hoped for, it seems that the position of the journal – in spite of all the casualties, including the wounded Klučko – was unproblematic all the way untill the second half of 1917, when trends of war weariness and decaying complement numbers irreversibly gained the upper hand. All in all, Sudrug is judged to be an early Croatian manifestation of popular culture (as defined by Dean Duda), thus also representing a possible window to the oral culture world of illiterate soldiers, a window that certainly should be compared to other sources.