Rad razmatra povijesna, simbolička i ideološko-politička obilježja motiva i likova na papirnatom novcu koji je stavljen u optjecaj tijekom hiperinflacije u Mađarskoj 1945.-1946. godine. Daje se povijesni kontekst i navode uzroci mađarske hiperinflacije, opisuju se novčanice koje su se nalazile u optjecaju, a neko su vrijeme važile dvije paralelne valute (pengö i adópengö). Osobita pozornost pridaje se pojavi kvazihrvatskih natpisa na nekim novčanicama. Zaključuje se da je početna teza o razbijanju kulturno-povijesnoga slijeda novčane simbolike i ikonografije djelomično potvrđena jer je, bez obzira na lošu materijalnu situaciju koja je uvjetovala proizvodnju novih novčanica, nastavljena već uspostavljena tradicija uporabe mađarskih pučkih motiva koji povezuju prve novčanice penga iz 1926. godine i poslijeratne novčanice forinte sve do 1980-ih. Nadalje, bez obzira na jezično iskrivljene hrvatske natpise, određeni broj novčanica treba smjestiti u kontekst hrvatske numizmatike jer su na simboličkoj razini bile priznanje kulture i povijesti hrvatske nacionalne manjine u Mađarskoj. ; The paper discusses historical, symbolical, ideological and political characteristics of motifs and individuals that were depicted on Hungarian paper money in the period of hyperinflation of 1945-1946. In the introductory part the paper gives a historical context and discusses the causes of the Hungarian hyperinflation, then describes the banknotes that were put into circulation in the given period, including the so called ''tax pengö'' which served as a parallel currency for a limited time period. Particular attention is given to the distorted Croatian inscriptions found on some banknotes. It is concluded that the initial hypothesis about the break in the cultural and historical continuity in symbolism and iconography on the banknotes is only partially confirmed, because in spite of the lack of production material that impeded the printing of new banknotes, the already established tradition of the use of Hungarian folk motifs (that appear on paper money from 1926 to 1980ies) on banknotes was continued. Furthermore, in spite of the distorted and incorrect Croatian banknote values given on the back of some of the banknotes, the said banknotes need to be included in the context of the Croatian numismatics, because on a symbolic level the inscriptions in the Croatian language presented the recognition of history and culture of the Croatian national minority in Hungary.
U tekstu se analiziraju prepreke i nove mogućnosti za sudioničko upravljanje u centrima za kulturu i ustanovama za obrazovanje odraslih u vrijeme epidemije COVID-19. Opisuje se važnost socijalne participacije i sudioničkog upravljanja u organizacijama za obrazovanje odraslih, važnost suradnje ustanova i udruga. Središnji dio analize bavi se provedbom koprodukcije tj. zajedničkog rada građana, udruga i ustanova u pripremi i provedbi programa. Ova analiza se temelji na podacima iz provedbe projekta u osam organizacija iz različitih dijelova Hrvatske u vrijeme epidemije COVID-19. ; The text analyzes barriers and new opportunities for participatory governance in cultural centers and adult education institutions during the COVID-19 epidemic. It describes the importance of social participation and participatory governance in adult education organizations, the importance of cooperation between institutions and associations. The central part of the analysis deals with the implementation of co-production, ie the joint work of citizens, associations and institutions in the preparation and implementation of the program. This analysis is based on data from the project implementation in eight organizations from different parts of Croatia at the time of the COVID epidemic 19.
Western concepts of society, nature and technology have oftentimes been shaped by indigenous culture and tradition. Nevertheless, indigenous ancestral knowledge is now widely regarded obsolete. Perpetuating colonial thinking, the Western vision of our global future considers it only a matter of time until it is fully eliminated by the advancement of "progress". In a framework of Critical and Speculative Design (CSD), I investigate the legal, political, and social consequences of producing mezcal, a Mexican ancestral spirit, on the Croatian coast with Adriatic agaves: A process of production and exchange of knowledge by a Mexican indigenous "Maestro Mezcalero" (master mezcal producer) and a Croatian rakija distillery in Dalmatia. Together they show us a collaborative rural aspect of a potential future reality that employs indigenous knowledge to make use of natural resources, foster inter- cultural understanding and design alternative ways of production and life.
Western concepts of society, nature and technology have oftentimes been shaped by indigenous culture and tradition. Nevertheless, indigenous ancestral knowledge is now widely regarded obsolete. Perpetuating colonial thinking, the Western vision of our global future considers it only a matter of time until it is fully eliminated by the advancement of "progress". In a framework of Critical and Speculative Design (CSD), I investigate the legal, political, and social consequences of producing mezcal, a Mexican ancestral spirit, on the Croatian coast with Adriatic agaves: A process of production and exchange of knowledge by a Mexican indigenous "Maestro Mezcalero" (master mezcal producer) and a Croatian rakija distillery in Dalmatia. Together they show us a collaborative rural aspect of a potential future reality that employs indigenous knowledge to make use of natural resources, foster inter- cultural understanding and design alternative ways of production and life.
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 ...
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.
U radu autorica prati početak procesa izrastanja bosanskohercegovačke sociokulturne politike 60-ih i početkom 70-ih godina XX. stoljeća, čiji su inicijatori i protagonisti – političko rukovodstvo Bosne i Hercegovine i njemu bliska inteligencija – imali za cilj unutar idejno-političkih restrukturiranja koja su zahvatila Jugoslaviju u tom razdoblju i u kojem su republike, kao društveni i politički entiteti, zadobile puni legitimitet, političkom tijelu Bosne i Hercegovine, kao faktor njegove stabilnosti, osmisliti kulturni identitet. Fokus rada je na razvoju, idejnim metamorfozama i analizi diskursa kojim se nastoji utemeljiti zaseban jezični identitet bosanskohercegovačkoga društva i republike kao temelj njegova kulturnoga identiteta i emanacija njegove povijesne društvene osobitosti. Autorica u radu donosi prikaz povijesnoga konteksta iz kojega izrasta bosanskohercegovačka sociokulturna politika, tj. jezična politika kao njezin najvažniji segment, prikaz partijskih foruma te organizacijskih formi javnih rasprava preko kojih se utemeljuje, razvija i (pre)oblikuje idejni govor o bosanskohercegovačkoj društvenoj i kulturno-povijesnoj zasebnosti. ; In the 1960s, Bosnia and Herzegovina was a peripheral Yugoslav republic, lacking a distinctive cultural identity. In fact, advocates of Serbian-Croatian cultural unity perceived it as a mini Yugoslavia, the central part of the so-called Serbian-Croatian cultural space, in which the process of cultural rapprochement and integration of the Serbia and Croatian nations was to occur. The political leadership that came to power in Bosnia and Herzegovina in the 1960s wanted to change this ideological perception of their republic and establish its distinctive cultural identity as a support to its political identity and socio-political stability. Therefore, in the mentioned period, the cultural intelligentsia was encouraged towards a systematic, organised, and institutional production of discourse on the historical, cultural, literary, and linguistic identity of Bosnia and Herzegovina and the national identity of Muslims. All of this represents the inception of the Bosnian-Herzegovinian socio-cultural policy, whose important segment was literary-linguistic policy, initiated with the publication of the 'Declaration' and 'Suggestion', which intensified the Serbian-Croatian cultural dispute in Yugoslavia and highlighted the concept of national cultural unity. In this way, Bosnia and Herzegovina was threatened with destabilisation and social and cultural disintegration. Therefore, the republican leadership initiated the process of forming literary-linguistic principles, the most important of which was the existence of only one language in the Republic that was shared by all nationalities living inside its borders, and of standardising the Bosnian-Herzegovinian norm in public space. Public discussions about the linguistic identity of Bosnia and Herzegovina were organised (e.g. the 'Symposium on Linguistic Tolerance'), a language institute was established as an institutional starting point for the scientific grounding of the Bosnian-Herzegovinian standard language expression and a discourse about it was developed, the publication of orthography manuals was planned, etc. The dynamics of Bosnian-Herzegovinian linguistic policy followed the dynamics of the Croatian linguistic and cultural separation. After the end of the Croatian Spring, a certain impasse regarding the realisation of this policy ensued, partially due to the repositioning of the power relations of the conceptual forces, thanks to which the linguistic centralists who advocated Serbian-Croatian unity regained their influence. The Council of Mostar, which was organised with the goal of evaluating the achieved results, pointed to the fact that, in the 1967–1973 period, the linguistic policy of the Bosnian-Herzegovinian leadership had had a very weak impact on the socio-political reality of Bosnia and Herzegovina as well as on the creation of a separate cultural identity of the central Yugoslav republic.
With the production of their own media material, the ethnic minorities assume responsibility for opposing the predominant media discourses of the majority culture, and fight for their own distinctiveness and (self)representation within the Croatian media sphere. The ethnic-minority media serve not only the purpose of preserving the socio-cultural values and special features of the minority identity, but also of providing information both to a particular community on the intra-ethnic level and to the majority of the Croatian society regarding the situation, the needs and the rights of the minorities themselves. Thus they represent and convey their interests to the general public. This paper aims to investigate how ethnic minorities are represented in the media and to what extent the ethnic-minority media are represented in the media arena of the Republic of Croatia. The author focuses especially on the city of Zagreb and the minorities which have organized ethnic-minority Councils there. An introductory discussion on the role and influence of the media is followed by an overview of the analysis of ways of reporting on ethnic minorities in the mainstream media of the majority, based on the results of research carried out so far. Furthermore, the paper includes a discussion on the minority media, comprising a tabular outline of print media and digital media (from the Internet domain) of the ethnic-minority communities in the Republic of Croatia. Finally, the author provides an analysis of such a state of affairs regarding the media, and some concluding remarks. Adapted from the source document.
With the production of their own media material, the ethnic minorities assume responsibility for opposing the predominant media discourses of the majority culture, and fight for their own distinctiveness and (self)representation within the Croatian media sphere. The ethnic-minority media serve not only the purpose of preserving the socio-cultural values and special features of the minority identity, but also of providing information both to a particular community on the intra-ethnic level and to the majority of the Croatian society regarding the situation, the needs and the rights of the minorities themselves. Thus they represent and convey their interests to the general public. This paper aims to investigate how ethnic minorities are represented in the media and to what extent the ethnic-minority media are represented in the media arena of the Republic of Croatia. The author focuses especially on the city of Zagreb and the minorities which have organized ethnic-minority Councils there. An introductory discussion on the role and influence of the media is followed by an overview of the analysis of ways of reporting on ethnic minorities in the mainstream media of the majority, based on the results of research carried out so far. Furthermore, the paper includes a discussion on the minority media, comprising a tabular outline of print media and digital media (from the Internet domain) of the ethnic-minority communities in the Republic of Croatia. Finally, the author provides an analysis of such a state of affairs regarding the media, and some concluding remarks. Adapted from the source document.
Nakon kratke uvodne kontekstualizacije i ocrtavanja renesansne vojno-političke slike Italije, kao i susljednih društveno-kulturalnih stratuma, u radu su u kratkim crticama prikazani djetinjstvo Leonarda da Vincija i njegove prve umjetnički formativne godine, odnosno šegrtovanje u firentinskom ateljeu Andree del Verrocchija. Glavnina rada potom je posvećena raspravi o vizualnim prikazima Leonardovih ratnih izuma, razvijenima na dvorovima ondašnjih najmoćnijih talijanskih obitelji, milanskih Sforzi i rimskih Borgia. Kraćom interpretacijom dostupne historiografske produkcije nastoje se povući paralele između kasnorenesansne i moderne vojne tehnologije te istražiti donekle nezastupljena sfera Leonarda da Vincija kao homo militarisa. ; After a brief introductory contextualization and depiction of the Renaissance military-political image of Italy, as well as the subsequent socio-cultural strata, the work briefly illustrates the childhood of Leonardo da Vinci and his first artistic formative years, that is, apprenticeships in the Florence studio of Andrea del Verrocchi. The majority of the work deals with a discussion of visual representations of Leonardo's inventions of war, developed on the courts of the most powerful Italian families of that time, Milan Sforzi and Roman Borgia. A shorter interpretation of the available historiographical production seeks to draw parallels between the late Renaissance and Modern military technology as well as to explore the somewhat unrepresented sphere of Leonardo da Vinci as a homo militaris.
This article analyses the representation and main characteristics of comparative politics articles published in the journal Politicka misao. Starting from the assumption that the political and academic fields are engaged in a process of 'reciprocal legitimation', we divided the period of analysis into two phases and research subsamples. The first encompasses articles published in the period 1964-1989, while the second covers articles published in the period 1990-2013. Content analysis reveals that during the first phase comparative politics articles were weakly represented in the journal. The few articles that belong to the field were mostly written from a Marxist perspective, and occasionally from the perspective of old normative institutionalism. Overall they were methodologically unreflective, descriptive and configurative. The most frequent topics were self-managing democracy, communist and revolutionary parties, anti-imperial movements and conflicts in Third World countries. The time period after 1990 is characterised by a strengthening of the field of comparative politics. First of all, there is a notable increase in the number of articles dedicated to elections, electoral systems, political parties and party systems, legislatures and governments, constitutionalism and the judiciary, political culture, nationalism, as well as European institutions and processes. Secondly, theoretical approaches are more diversified, ranging from new institutionalism, behavioralism and pluralism to rational choice theory and cultural theory. Though case studies and focused studies with a small-N are the most frequent empirical strategies, overall methodology remains the weakest element of domestic academic production in comparative politics, while explicitly methodological discussions remain extremely rare. Adapted from the source document.
U radu se prvi put revalorizira još posve neistražen književni opus tiskanih putopisnih zbirka istaknutoga suvremenog hrvatskog književnika Zlatka Tomičića (Zagreb, 1930. – Zagreb, 2008.). Današnja međunarodna književna produkcija snažno je usmjerena prema oblikovanjima tzv. nefikcionalnih žanrova (memoara, putopisa, autobiografija) pa se prema ulozi reanimiranja misaonoga poklisara realiziraju i Tomičićevi putopisi. Tomičićeva putopisna proza jednim se dijelom promatra u kontekstu njegovih književnih suvremenika i političko-društvene sudbine autora. Međutim rad se u prvome planu usmjerava na književnu analizu i interpretaciju šesnaest putopisnih knjiga te se unutar autorova oblikotvornoga postupka promatraju i njegovi književni utjecaji, književne relacije i refleksivno-filozofski obzori. Bitna konstanta Tomičićeva putopisa jest težnja za polifonijskim i polihistorijskim modelom doživljavanja svijeta. Kao obilježje Tomičićeva umjetničkoga postupka izdvaja se interferencijska realizacija hibridnoga žanra putopisa i stvaranje književnoga pletera, tj. ispreplitanja kozmopolitizma i rodoljublja te povezivanja realističkih zapažanja s konstantom kulturno-duhovne aure opisivanoga prostora. ; The paper valorizes for the first time a completely unexplored literary opus of published travelogue collections of prominent contemporary Croatian writer Zlatko Tomičić (Zagreb, 1930. – Zagreb, 2008.). Contemporary international literary production is strongly directed to forming of the so called non-fictional genres (memoirs, travelogues, autobiographies), therefore Tomičić's travelogues are also realized in accordance with the role of reanimating contemplative envoy. Tomičić's travel prose is partly considered in the context of his literary contemporaries and authors' political-social destiny. However, the paper is in the first plan directed to literary analysis and interpretation of sixteen travelogues and author's literary influences, literary relations and reflexive-philosophic visions are considered within his forming procedure. A very important constant of author's travelogue is aspiration to polyphonic and historic model of life experiencing. The characteristic of Tomičić's artistic procedure is interferential realization of hybrid travelogue genre and creation of literary wattle i.e. interweaving of cosmopolitism and patriotism and connecting of realistic observations with a constant of cultural-spiritual aura of described space.
Proces osnivanja i početak rada televizije kao odjela Radija Zagreb i prve godine djelovanja Radiotelevizije Zagreb unutar Jugoslavenske televizije odigrali su se u samo deset godina – od sredine 50-ih do sredine 60-ih godina XX. stoljeća. Obrađivani period analiziran je iz izvornih dokumenata Radija Zagreb i Radiotelevizije Zagreb, djelomično sačuvanih u Arhivu poslovne dokumentacije Hrvatske radiotelevizije, tekstova objavljenih u internim tiskovinama obiju ustanova i radiodifuzije Jugoslavije, kao i zabilježenih sjećanja sudionika tih događaja. Da bi se dobio potpuniji uvid u obrađenu temu, prikazan je i kratki pregled nastanka televizije u svijetu. Većina podataka korištenih u ovom radu nalazi se u radnoj jedinici Arhivi i programsko gradivo Hrvatske radiotelevizije. ; The founding of any television broadcaster demands substantial financial investments because the production of programmes costs the same regardless of whether one is producing a programme for millions or several thousand viewers. Almost all television broadcasters began their development as parts of radio stations (BBC in the United Kingdom, CBS and NBC in the USA). The television broadcaster founded by Radio Zagreb as one of its departments is no exception. The rapid development of television in the technological and programmatic sense after World War II led to it taking away an increasingly large media space from other information and entertainment sources, so that it quickly became independent and grew into the dominant mass medium. Public television in Croatia (Yugoslavia) underwent the same development path as other public television broadcasters in Europe, albeit much later than the broadcasters that served as its role models (BBC and RAI) and in significantly tougher financial and social circumstances. The enthusiasm and professionalism of the people involved in the creation of television in Zagreb were of decisive importance for its later development. All those who joined the project showed a readiness to master something completely unknown and to learn on the go. Many have written about the time and circumstances in which television appeared in Croatia as the time of enthusiasts of Radio Zagreb. As Ivan Šibl said, the enthusiasm and passion of these people for the new medium was not curbed by the eternal lack of money or by the political and social circumstances of the time. Starting from almost nothing, on their on their own initiative, with much ingenuity, professionalism, and, above all, much love, they created the first television broadcaster in Yugoslavia. Sadly, instead of affirmation, this pioneering work of Radio Zagreb caused much envy and obstructions. Still, once they had begun, they became unstoppable. They learned on the go and, learning from their mistakes, created a programme of increasingly higher quality. Even though they planned to make a television network in Croatia in only a few years (1956–1960), the financial and political circumstances did not allow this, so the whole process dragged out for almost two decades. But they managed to create the foundations of modern television from almost nothing. The increasing viewership through the years is a clear indicator of the success of their work. No less important, in the time and in social conditions in which they lived, was their courage to consciously choose to broadcast foreign television programmes, because they could not influence the contents of Italian and Austrian television. Even though these were mostly sports, entertainment, and cultural programmes, they opened a 'window into the world' for their audience. In a way, the beginning of television in Zagreb is linked to football. Everything always began with the broadcasting of football matches, from persuading individuals to attracting viewers at the very beginning. Of course, the sports programme was always the most viewed part of the television programme. However, once they began to produce a television programme, they became unstoppable. Thanks to numerous enthusiasts, starting from just one small, makeshift studio, they created the foundations upon which most public—and private—television broadcasters in today's Croatia rest.
U istraživanjima kasnosrednjovjekovnoga dvora knezova Iločkih pronađena je raznovrsna antička materijalna ostavština koja obogaćuje dosadašnje skromne spoznaje o Cucciumu i limesu u hrvatskome Podunavlju. U iskopavanjima 2002. godine otkriven je paljevinski grob s drvenom arhitekturom u kojem su se nalazili prilozi dvojakoga podrijetla. Autohtono podrijetlo u latenskoj kulturi mlađega željeznoga doba pokazuju lonci zaobljenoga tijela izrađeni rukom i zdjela S-profilacije. Sjevernoitalskoga podrijetla su zdjelica tankih stijenki, keramička svjetiljka, staklena posuda te ostali prilozi koji zajedno s Klaudijevim novcem datiraju grob u sredinu 1. st. Na osnovi nalaza posuda izrađenih u latenskim tradicijama pretpostavlja se kako je u grobu bila pokopana osoba starosjedilačkoga podrijetla, dok importirani prilozi svjedoče o ranoj romanizaciji južne Panonije i dunavskoga limesa. O postojanju složenoga pogrebnoga rituala svjedoče izdvojeni ostaci kultiviranih biljaka domaćega i uvoznoga podrijetla koje su bile položene u lonce. ; The high Danube bank near Ilok, which is situated on the western slopes of Fruška gora, was continuously settled in all prehistoric periods, and after that - as the finds analyzed herein indicate - in the Roman time, but Ilok experienced its peak in the Late Middle Ages, in the period of Nikola and his son Lovro. The beginning of excavations in Ilok's upper town is particularly significant for reveal of the topography of Roman Ilok, which remained almost completely unknown due to a small number of finds. Data about the Roman settlement of Ilok (Cuccium) are preserved in several Itineraries, with different forms for the settlement's name. Thus Notitia Dignitatum mentions two cavalry units, Cuneus equitum Promotorum and Equites Sagittarii, in Cuccium of the 4th century. The excavations of the Institute of Archaeology in Zagreb began in 2001 in the extension of the eastern wing of Odescalchi Castle, to be continued in 2002 towards the west to encompass the lawn in front of the castle (Fig. 1). In preloess layer SJ 224 (10YR 4/3) in the southern part of the excavated area, filling SJ 229 was isolated. This filling is the first in a number of preserved fillings of the larger prehistoric pit SJ 306 which by finds was dated to the beginning of the Early Iron Age. In prehistoric filling SJ 229 another younger rectangular filling SJ 230 (5Y 4/3) was identified, whose western edge was damaged by recent burial in lime pit SJ 216, whereas the southern part lies outside the margin of the excavated area. Filling SJ 230 is part of the Early Roman grave SJ 273. Along the southern profile of the dig in filling SJ 230 a smaller burial SJ 270 and filling SJ 269, which caused no major damage to the grave (Fig. 5), were identified. The bottom of the grave with finds remained preserved, and the lack of incinerated human remains is possibly due to the fact that they are situated in the southern part of the grave, which has not yet been excavated, even though it is highly possible that they were destroyed in an earlier intervention in the grave filling. All grave goods were found in the eastern part of the grave (Fig. 2, Fig. 4). In the middle of the grave, close to the top of SJ 230, a hollow shafted iron axe (Pl. 2, 7) was found, which on account of its position compared to other finds is supposed to have entered the grave by digging through the older prehistoric strata, thus not belonging to the grave goods. On the bottom of the grave, filling SJ 268 (2.5Y 5/6) was isolated which belongs to the thin layer of preserved wooden architecture (Fig. 2-3), on whose remains in the north-eastern corner of the grave two hand-made pots with a rounded body and a flat rim and bottom (Pl. 1, 1-2) were found, as well as fragments of a wheel-made bowl with an S profile (Pl. 2, 1). In the corner of the grave, fragments of a dark-grey bowl with thin walls (Pl. 2, 6) and a play-token of dark blue glass paste (Pl. 2, 1) were found. A part of the bowl was also in a pot laid slightly more to the south (Pl. 1, 2). Around both pots numerous seeds were identified, which is why the complete content of the filling around the vessels and their filling is flotated. In the eastern part of the grave there were fragments of a glass vessel, probably a funnel or a glass (Pl. 2, 4). Fragments of a ceramic lamp (Pl. 2, 5), a bronze earring (Pl. 1, 3), a fragment of a bronze needle (Pl. 1, 5) and an iron rivet (Pl. 2, 8) were found in the south-eastern excavated part of the grave. Also in that part of the grave a bronze artefact, which probably represents a vessel's handle fastening system (Pl. 1, 4), and Claudius coin (Pl. 1, 6) were found. Beneath the remains of planks, filling SJ 272 (5Y 5/4) was isolated, which contained no grave goods. The excavated part of grave SJ 273 is rectangular-shaped with rounded corners with dimensions of 2.12 m (W-E) and 1.88 m (N-S up to the dig profile). The results of research indicate that all the grave goods were lain on the bottom of a wooden case, the existence of which is proved not only by SJ 268, but also by four uncovered post holes, one in each corner (SJ 277 and SJ 295), and two more in the middle of the western and eastern side of the grave respectively (SJ 275 and SJ 293). Although the southern part of the grave was not excavated, it can be assumed that post holes were in the south-eastern and southwestern corner of the grave. All the holes are quadrangular, and in the bottom part they become octagonal to make post driving easier. The results of floatation of part of the filling around the ceramic vessels laying in the north-eastern part of the grave and the filling of pots indicated the existence of a complex funeral custom which is reflected in the presence of a relatively large number of isolated cultivated plants. Archaeobotanical analysis showed that among grave goods there were cereals (barley, millet, and different types of wheat), leguminous plants (lentil and vetch) as well as a large number of "fruit" objects (melon/cucumber, fig, apple/pear cherry/sour cherry/sloe, plum, elder and vine grape). The fig and probably the melon were imported to the Ilok since they are cultivated in warmer (sub)Mediterranean areas, whereas the other sorts were probably cultivated in the surroundings of Ilok. All of the cereals and vetch are carbonized, i.e. they were intentionally or unintentionally burned. Apparently they were laid onto a funeral pile. The remaining "fruit" finds were calcified, i.e. they were laid into the grave fresh or dried, probably when laying the human remains and other grave goods. With the exception of the fig, which had to be dried due to long transport from the Mediterranean region, the remaining fruits could have been laid fresh. Apples, pears, plums, sour berries and elder berries as well as vine grapes and melons ripen at the same time of the year, i.e. in the early autumn, which suggests that the burial took place in that season. Still one has to keep in mind that "fruit" objects could have been kept in dried state for a relatively long time. The remains of a Roman grave were found in the excavations of 2002, indicating the existence of a cemetery, which had been unknown until now. The grave contained a cremation burial, with grave goods that were laid on the bottom in the north-eastern corner and along the eastern side of the wooden case, rectangular in shape, which was probably made of oak wood (Fig. 4). The answers to questions on the chronological position, ethnic determination and the origin of the finds shall be given after an analysis of the grave goods, which can be divided in two groups, the first represented by three ceramic vessels made following the tradition of the La Tène culture, and the other group of finds which are northern Italic imports and which, along with the coin, make dating of the grave possible. These finds consist of a ceramic bowl with thin walls, a glass vessel, a ceramic lamp, a bronze earring and a glass paste play-token. The same origin can be assumed concerning the finds that were preserved only in fragments such as a bronze handle fastening system of a vessel and a needle. On the basis of their shape and technological characteristics, the two hand-made pots with rounded bodies and the wheel-made, S-profiled bowl are connected with the tradition of the La Tène culture. The dark grey to dark brown pots with an admixture of quartz and chuff in abundance, have a rounded body, a flat rim beneath which there is a horizontal groove and a flat bottom (Pl. 1, 1-2). These are situla form pots, for which there are numerous parallels in the Late La Tène Scordiscs settlements in eastern Slavonia and Syrmia, found also in Early Roman strata and graves. Of similar origin is also the S-profiled, wheel-made bowl with a rich admixture of quartz (Pl. 2, 1) that was also found in the north-eastern corner of the grave. The hand-made pots with rounded bodies and the S-profiled bowl represent the Late La Tène heritage of the Scordiscs and testify to the presence of an autochthonous population in the Early Roman sites of the 1st century, whose traditions are the strongest in the shapes, techniques and methods of decorating coarse pottery. As indicated by the finds from the settlement layers in Vinkovci, Osijek and Srijemska Mitrovica, the local craftsmen continued the production of recognizable shapes, thus satisfying the needs of the indigenous population. Those forms were decorated by familiar motifs by applying combed or broom-shaped ornaments and by polishing. Ceramic ware with autochthonous features was preserved until the period of the Flavians, suggesting the existence of indigenous peregrine communities which preserved the achievements of their own material culture up until the end of the 1st century, but due to intensified romanization in the 2nd century this autochthonous trait The second and larger group of finds from the grave testifying to the romanization of the indigenous population of Cuccium. This group consists of Early Roman import artefacts, which arrived at Limes by the well-known Sava valley trade route from the northern Italic region. The dark grey bowl with thin walls and two horizontal ribs (Pl. 2, 6), the ceramic lamp with a voluted nose and a rosette ornament (Pl. 2, 5), and a glass vessel, most probably a funnel or a glass (Pl. 2, 4) represent imported grave goods which are not only chronologically sensitive but also point to the direction of the cultural and economic effects of the Roman conquest of the Drava, Sava and Danube interfluve. Ceramic ware with thin walls appeared in the eastern Alps and the middle Danube in the Tiberian period along with Padanian sigillata at the time of the first military conquests. Different shapes and ornamentation methods were identified, of which bowls decorated in barbotine technique are the largest in number. Typical of southern Pannonia is intensive import in the Claudius-Flavius period, when the peak of production was achieved. With the Flavian period, the production in the local workshops of Sirmium, Emona and on Gomolava began, in which shapes, ornaments and facture of the imported specimens were imitated. At the end of the 1st century the quality and the number of vessels with thin walls declined, but their production continued until the middle of the 2nd century. The ceramic lamp with reddish-brown coating and volute nose, two grooves on its shoulder and a rosette ornament (Pl. 2, 5) is also of northern Italic origin; its fragments were found at the eastern margin of the grave. The lamp find, along with other imports, suggests the acceptance of Roman lifestyle traditions and funeral customs. The described lamp belongs to the Iványi I type, which encompasses specimens with volute triangle-shaped nose, a relief figure in the middle concentric grooves on the rim. According to D. Iványi's classification, the lamp from Ilok belongs to the third type, its basic feature being a broader voluted nose dated to about the middle and the last quarter of the 1st century or to the 2nd century. According to Loeschcke's classification of ceramic lamps with an angular nose and volutes, the Ilok find corresponds to type I, variation b, characterized by a somewhat narrower top of the nose than with lamps having volutes, whereas the shoulder profile with two grooves is of type IIb. The angular ceramic lamps with volutes of the Iványi I, or Loeschcke I type, from Pannonian sites, represent a northern Italic import from the beginning of the 1st century, when they arrived along with the Arentino and northern Italic sigillata of the Augustan and Tiberian periods. The finds of voluted lamps, as well as of ceramic ware with thin walls, in military camps on the Danube (Zemun, Novi Banovci, Surduk) prove that they were imported to satisfied the needs of the army, but also for the higher social class of the autochthonous population, as indicated by the richly cremation grave from Ilok. Production in local Pannonian workshops began in the second half of the 1st century, as finds of moulds in Sirmium, Mursa and Poetovio suggest. Their occurrence in south Pannonian sites can be followed also in the 2nd century, up to the beginning of the 3rd. The smaller vessel, probably a funnel or a glass, made of greenish glass with a horizontally inverted rim (Pl. 2, 4), the fragments of which were found along the eastern margin of the grave, also suggests northern Italic origin. Just like the voluted lamp and the bowl with thin walls, the vessel came to the Danube limes through Aquileia, which in the 1st-2nd centuries was an important production center, but at the same time it was a commercial port for goods coming from other production centers, from where it was imported into the eastern Alpine and Danube regions. In the north-eastern corner of the grave there was also a play-token made of dark blue glass paste (Pl. 2, 1), which is supposed to have served for playing and which was dated to the 1st century. In the grave, a greenish glass bead was found as well (Pl. 2, 3). Metal grave goods and coin were preserved (Fig. 4) in the south-eastern excavated part of the grave, on the remains of poorly preserved wooden planks. The little bronze74 ring with an irregular rectangular cross-section has its one terminal looped, whereas its other terminal is missing (Pl. 1, 3). Its description corresponds with the type of Roman bronze earrings in the shape of wired annulets with different cross sections, with looped or clipped terminals. Simple earrings in the form of a wired ring that used to close by inserting the small hook through the loop were documented in a longer period, and they differ according to the shape of the pendant hanging from the ring, whose shape remained almost unchanged. The fragment of a bronze needle (Pl. 1, 5) was probably part of a bronze fibula. In the immediate vicinity of the earring there was another object, the function of which is not sufficiently clear. It might have been a handle fastening system of a bronze vessel (Pl. 1, 4) consisting of a leaned ring with an oval outline and a round cross-section, beneath which there is trifoliate sheet metal with rectangular terminals and a rivet hole in the upper part. The ring is separated from the bottom part by a rib, on which there are two horizontal grooves. In the immediate vicinity, a smaller iron rivet (Pl. 2, 8) was found with a short spike with a rectangular cross-section that might have served for fastening a handle. Apart from the described finds, another import in the grave are also the remains of the fig and the melon, found along with other archaeobotanical samples in the north-eastern part of the grave and in the fillings of both pots. The figs could not be cultivated in the southern Pannonian area due to inclement climatic conditions. Since figs could not have been kept fresh for a long time, it was not possible to transport the fruits across larger distances, therefore probably the figs arrived to Cuccium dried. The figs, along with the remaining ceramic and glass finds, were imported for the needs of the settled Italic, but also indigenous population, who were not unfamiliar with Italic goods. The largest part of archaeobotanical artefacts accounts for wine grape seeds. The question of the origin and cultivation of wine among the Illyrians with the mentioned antique sources was thoroughly analysed by M. Zaninović. The Pannonian production of small quantities of wine and the bad quality of its production is mentioned by Dion Cassius (49.36.2), which is also confirmed by Strabo's quote (VII.5.10) that the regions above Dalmatia are mountainous and cold and that vineyards can seldom be found there. The finds of amphorae dated in the beginning of the 1st century, which came along with the wine across Aquileia, testify to imports of wine to Sirmium, which was supported by settled Italics and by the indigenous population. Wine cultivation in Pannonia was intensified in the second half of the 3rd century, in the period of Probus, when soldiers planted selected grapes on the slopes of Fruška gora (Almus Mons). The discovery of grape seeds in pots in the grave in Ilok prove the earlier existence of vineyards on the western slopes of Fruška gora already in the 1st century, although it is possible that the tradition of wine cultivation in the Ilok region is considerably older. The laying of different kinds of cereals and fruits combined with ceramic and glass vessels of twofold origin into the grave suggests the existence of a complex funeral rite, which is still inadequately understood in the southern Pannonian territory in the Early Roman period. Numerous parallels to all described finds from the grave in Ilok were documented in the Danube region, which enable the dating of the grave in the middle of the 1st century. This is also confirmed by the find of Claudius coin (Pl. 1, 6). Although the grave has not been completely excavated, the grave goods and remains of grave architecture enriched the existing understanding of the process of romanization of the Croatian Danube region, testifying to the relation of the indigenous population towards the newly arrived achievements of the Roman culture. Of particular importance for the ethnic determination of the burial are three ceramic vessels from the northeastern corner of the grave, two hand-made pots with a rounded body (Pl. 1, 1-2) and the S-profiled, wheel-made bowl (Pl. 2, 1). The described vessels can be compared with the material heritage of the La Tène culture, which in the middle Danube is connected with the Scordiscs. In the described shapes, the continuation of pottery traditions of the indigenous mixed Celtic-Pannonian population is visible, which in the 1st century formed an important ethnic component of the southern part of Roman Pannonia. The second group of finds that suggests northern Italic origin points to the direction of the new ethnic, cultural and economic influences on the eastern part of the Sava-Drava-Danube interfluve in the process of early romanization. Numerous parallels with Early Roman cremation burials from Syrmia, in which ceramic finds produced following La Tène traditions were found, indicate a strong tradition of the autochthonous population up until the end of the 1st century. This means that the mixed Celtic-Pannonian population living in the territory of the middle Danube played an important role in the process of early romanization and formed a constituent part of the ethnic corps of the newly conquered part of southern Pannonia. The indigenous population in larger centers that emerged from Late La Tène protourbane centers, was exposed to more intensive and rapid romanization by the settling Italic population and veterans and common imports, which was accompanied by the achievements of the Roman way of life. Rural Late La Tène communities long held the features of their own material culture, accepting only some of the achievements of the newly founded Roman provincial culture. In the grave in Ilok, imported objects suggesting northern Italic origin were found as well, and they came to the middle Danube by a trade route that was in function earlier – along the Sava River, where in the 1st century BC certain goods were transported for the Scordiscs. This is shown by numerous finds of bronze vessels of northern Italic origin, which in the sites of La Tène culture in eastern Slavonia occur in graves and in the most important fortified settlements such as Dalj, Sotin, Vinkovci and Orolik. The import of bronze vessels took place from Aquileia through Nauportus and Emona, from where along the Sava over Segestica it came to the middle Danube. Strabo (4.6.10; 5.1.8; 7.5.2) described this important prehistoric communication, and the described trade route is also supported by finds of coins from Appolonia and Dyrrhachion, as well as of Roman Republican coins. The use of the well-known trade route, along the Sava towards the East, continued also in the Early Roman period, when Aquileia was the most significant center of the export of pottery with thin walls, terra sigillatae and glass vessels on the markets of Pannonia and Noricum. It can be claimed with certainty that Tiberius' conquest of the eastern part of the Interfluve came running across the Sava valley. The understanding of events after the Roman conquest of eastern Slavonia and western Syrmia is weak due to a lack of site excavations, on which the process of romanization that had started could be followed. Although there were significant military bases of the Danube Limes in the described territory, as well as larger civic settlements in its hinterland, such as Mursa and Cibalae, the material heritage of the first decades of the 1st century is little known. What all the Roman centers in the territory of eastern Slavonia and western Syrmia have in common is that they were erected either in the most significant Late La Tène centers, or in their vicinity. In all mentioned sites, on the Limes as well as in its hinterland, in the Early Roman layers dated to the 1st century, shapes that suggest the continuity of the Late La Tène material heritage prevail. In the first line, the early Roman import was directed to significant Late La Tène Scordisc settlements, where along with ceramic forms made in autochthonous traditions a northern Italic import of the Late Augustan and Tiberian periods occurred. Within the study of imported ceramic vessels, the presence of auxiliary military units, the arrival of merchants and settlements of Italics already in the early 1st century were identified. On the sites along the Limes, northern Italic imports from the Late Augustan and Tiberian periods was not rich in numbers. In the Julian-Claudian period, only auxiliary military units controlling the border existed along the Danube in mobile camps. Imports became more intense only in the Flavian period, when the military units came to the Danube and erected permanent fortresses. This also intensified the romanization of the indigenous population, which was also advanced by the recruitment of the autochthonous population to auxiliary units. Military units were always followed by merchants who satisfied their needs, but also the needs of settled Italics, as well as the upper class of the indigenous population, to whom those goods were not unknown, with imported goods. The Roman merchants were familiar with the circumstances on the market of the Drava-Sava-Danube interfluve and they were the advance contingent of the Roman conquest. The quote of Velleius Paterculus (II.110) that at the beginning of the rebellion in Pannonia and Dalmatia many merchants were killed testifies to the early presence of Roman merchants in this interfluve zone. If one would try to closer determine the ethnicity of the grave found in Ilok, one should look for the answer in Roman antiquity sources dealing with the ethnic structure of the eastern part of the Sava-Drava-Danube interfluve in the pre-Roman period and immediately after the conquest. The middle Danube in the Late Iron Age was populated by the Scordiscs, and after the conquest Roman sources mention some new communities. Thus, in the territory of the Croatian Danube area the Cornacates are mentioned, which Pliny the Elder mentions in his alphabetic index of the communities settled in Pannonia (N.H. III. 148). Since on that occasion communities from the territory of Transdanubia are mentioned as well, which were definitely conquered as late as in the Claudius period, the information on the Cornacates, to whom Cuccium is assigned, corresponds with the time to which the grave from Ilok is dated. The Cornacates as a peregrine community of Celtic-Pannonian origin were settled in the territory along the Danube in the surroundings of Vukovar up to Ilok. The western border towards neighbors - the Breuci - must have been around Vukovar and Negoslavci, where two military diplomas were found, issued to veterans of Breuci origin. The second possibility is that the Cornacates were only the citizens of the settlement Cornacum. Evidence supporting this statement is also found in Pliny's statement (N.H. III. 148) that Sirmium was an oppidum and a community of the Sirmienses and Amantinis, where under the Sirmienses exclusively the citizens of the settlement, which was the center of the Amantinian community, are meant. The final answer to the question whether the Cornacates lived in the territory of Ilok will be found only by an epigraphic find. The results of excavations of the castle of the Ilok in 2001 and 2002 extended the present-day understanding of the topography of Cuccium, and the discovery of the Early Roman cremation grave gave an insight into the process of early romanization of the Limes in the territory of the Croatian Danube region. The Roman settlement laid more to the west than the late medieval palace of the Ilok princes, whereas graves were situated along the roads that led from the settlement, grave sites being indicated by finds of Late Antiquity sarcophagi and brick tombs to the south of today's Ilok. A grave was found to the west of the settlement, on the site of the present Ilok fortress, suggesting the existence of an Early Roman cemetery, where the indigenous population was buried. The finds of two hand-made pots with a rounded body and the wheel-made S-profiled bowl testify to this, indicating a strong tradition of the La Tène culture. The shape of the grave with the remains of a wooden cast has up to the present not been identified at the known Late La Tène Scordisc graves, therefore the question of its origin remains open. The second group of grave goods of northern Italic origin, represented by the bowl with thin walls, the lamp with the volute nose, the glass vessel and other metal and glass finds, points to the romanization of the encountered indigenous population, at the same time, based on the coin finds, dating the grave in the time of Claudius, in the middle of the 1st century. The discovery of the remains of different cultivated plants, out of which some show traces of incineration in and around both pots, testifies to the existence of a complex funeral rite in which, same as in the finds, the traditions of the newly arrived Roman culture intermingle with the material heritage of the autochthonous mixed Celtic-Pannonian population. It is highly conceivable that future research in Ilok shall expand the scarce understanding of the process of romanization and life along the limes in the territory of the Croatian Danube region.
Učeničko društvo Svačić počelo je djelovati 1906. godine kao tamburaški zbor unutar varaždinske Gimnazije, a ubrzo je kao organizirano tamburaško društvo nastupalo i izvan škole. Pod vodstvom prof. Milana Stahuljaka oblikovani su kvalitetan tamburaški i pjevački zbor te salonski orkestar koji su do ljeta 1913. godine, priređivali glazbeno-deklamatorne produkcije povremeno dopunjavane amaterskim predstavama i organiziranim plesom. Bez Svačićevog sudjelovanja ubrzo je postala nezamisliva svaka ozbiljnija priredba u Gimnaziji, a njegovi programi znatno su obogatili kulturnu i zabavnu ponudu u gradu. Pred Prvi svj. rat ulogu Svačićevog zborovođe preuzeo je prof. Tomislav Miškulin pod čijim je vodstvom ova djelatnost nadopunjena izuzetno kvalitetnim koncertnim aktivnostima. Čim su to političke okolnosti dopustile, Svačićevi su nastupi, tijekom i nakon rata, pomogli prikupljanju novca za pomoć siromašnim gimnazijalcima i ratnim stradalnicima. Zalaganjem Milana Kamana, novog ravnatelja varaždinske Gimnazije, diktatorski režim kralja Aleksandra je 1930. ipak dozvolio osnivanje Varaždinskog gimnazijskog udruženja "Svačić" s ciljem da lakše kontrolira izvannastavne aktivnosti u školi. Rad udruženja propisan je Pravilima potvrđenim od Ministarstva prosvjete i organiziran je kroz sekcije. U početku su utemeljene glazbena, znanstvena i literarna, a sljedećih godina oformljene su sportska, likovna šahovska i filatelistička sekcija. Nastavni savjet imenovao je profesore voditelje sekcija koje su održavale radne sastanke pripremajući programe za tzv. sijela, priredbe putem kojih su svoj rad predstavljale unutar škole ili na nivou grada, a povremeno su Gimnaziju predstavljale i na višim razinama. Pritom se posebno isticala sportska sekcija pod vodstvom prof. Zvonimira Suligoja koja se, uz lokalne manifestacije predstavljala na državnim sletovima. Glazbena sekcija pod vodstvom prof. Tomislava Miškulina je svoje koncertne programe predstavljala u Hrvatskom glazbenom zavodu i zagrebačkoj katedrali. Literarna sekcija je učeničke radove povremeno objavljivala u zagrebačkim književnim revijama, a samostalno je izdavala učenički list Svačić. Zahvaljujući njihovoj aktivnosti kulturni, zabavni i društveni život u Gimnaziji i Varaždinu 30-ih godina 20. stoljeća bio je znatno bogatiji i kvalitetniji. No promjenom političkih odnosa neposredno pred Drugi svjetski rat, rad ove udruge bio je ugašen. ; Student association Svačić was founded in 1906 as a tamburitza orchestra operating within Varaždin Gymnasium and later it was converted into a tamburitza music association that held concerts outside school as well. Led by teacher Milan Stahuljak it consisted of a high-quality tamburitza orchestra and choir as well as a chamber orchestra. By summer 1913 they used to organize music and declamatory productions which were sometimes complemented with amateur shows and organized ballroom dances. Soon thereafter Svačić became one of the must-have participants of all the important events in Gymnasium, and their programs added new qualities to the cultural and entertainment offer in Varaždin. Before World War I teacher Tomislav Miškulin became their choirmaster and he put special emphasis on concert activities of the association. As soon as the political circumstances became more favorable (during and after the war) Svačić performances aided significantly in raising resources for the poor Gymnasium students and casualties of war. As a consequence of the persistent work by Milan Kaman, the new head of Varaždin Gymansium, the dictatorial regime of the king Aleksandar eventually allowed the foundation of Varaždin Gymnasium association "Svačić" in 1930 so that they may supervise extracurricular activities of the school. The activity of the association was defined by a rulebook ("Pravilnik") which was approved by the Ministry of Education and it was set up through various sections. The first sections to be founded were the music, science, and literary sections, and in the upcoming years sports, visual arts, chess and philatelic sections were set up as well. The board of teachers appointed teachers who were leaders of particular sections which in turn held meetings where they elaborated programs for the so-called soirees. Those were events where sections presented their activities within the school or for the general population. Sometimes they even represented the school on a more formal level as well. A section that was especially prominent was the sports section which was led by teacher Zvonimir Suligoj. They were active both at local and state events. Music section, which was led by teacher Tomislav Miškulin, held concerts in the Croatian Music Association and Zagreb Cathedral. The literary section sometimes published students' works in Zagreb literary journals, and they published their own student journal called Svačić. With the help of their activities, social, culture and entertainment segment of Varaždin life in the 1930s was extremely rich and colorful. However, because of new political developments in the period leading up to World War II, this association ceased to exist.