The author considers constitutions not solely as legal systems intended primarily for lawyers but also as the legal expression of the state of cultural development, a means of cultural self-representation of a people, a mirror of its cultural heritage & the foundation of its hopes. He thinks that an interpretation of the state, besides the standard three elements, should include culture, if not as its "first" then at least as its fourth element. Haberle thinks that the concept of the constitution should not be fixated upon the state. Adapted from the source document.
Predmet ovog rada jest pravo na branitelja, i to pravo na branitelja na teret države (formalna obrana siromašnih okrivljenika) kao njegov element te kako proizlazi iz Direktive (EU) 2016/1919 Europskog parlamenta i Vijeća od 26. listopada 2016. o pravnoj pomoći za osumnjičenike i okrivljenike u kaznenom postupku i za tražene osobe u postupku na temelju europskog uhidbenog naloga i Direktive 2013/48/EU Europskog parlamenta i Vijeća od 22. listopada 2013. o pravu na pristup odvjetniku u kaznenom postupku i u postupku na temelju europskog uhidbenog naloga te o pravu na obavješćivanje treće strane u slučaju oduzimanja slobode i na komunikaciju s trećim osobama i konzularnim tijelima tijekom trajanja oduzimanja slobode. Kroz analizu mjerodavne prakse Europskog suda za ljudska prava cilj je pokazati u kojoj mjeri praksa pristupa branitelju i hrvatsko odvjetništvo odgovaraju zahtjevima direktiva. Spomenuta praktična implementacija direktiva o pravu na pristup branitelju i pravnoj pomoći u hrvatskom odvjetništvu predstavlja posebni dio rada. U tom se dijelu rada analiziraju obveze koje iz direktiva proizlaze za odvjetništvo, a poseban se naglasak stavlja na cjeloživotno obrazovanje odvjetnika, njihovu organizaciju putem braniteljskih lista unutar odvjetničkih zborova, kao i na učinkovit sustav disciplinske odgovornosti odvjetnika. ; The subject of this paper is the right to a lawyer, specifically, a lawyer financed by the state (formal defence of persons lacking sufficient means), as regulated by Directive (EU) 2016/1919 of the European Parliament and of the Council of 26 October 2016 on legal aid for suspects and accused persons in criminal proceedings and for requested persons in European arrest warrant proceedings, and by Directive 2013/48/EU of the European Parliament and of the Council of 22 October 2013 on the right of access to a lawyer in criminal proceedings and in European arrest warrant proceedings, and on the right to have a third party informed upon deprivation of liberty and to communicate with third persons and with consular authorities while deprived of liberty. By analysing the relevant jurisprudence of the European Court of Human Rights, we aim to demonstrate the degree of compliance of the Croatian lawyers` approach with the Directives. The practical implementation of the mentioned Directives is a specific part of this work. In this respect, we analyse the obligations for lawyers stemming from the directives, with an emphasis on the education of lawyers, their organisation via specific lists, as well as an effective system of disciplinary responsibility.
There are prima facie reasons why political parties should be recognized as public law persons of the Croatian legal system: Political parties play a leading role in the creation & implementation of the state's will. Continental European legal systems distinguish between public & private law: the Croatian Constitution prescribes that political parties are associations with the features typical of public law persons. What requires analysis is the nature & consequences of the public law personality of political parties. Aristotle's theory of justice is still a useful starting point for distinguishing between public & private law, & between public & private law persons. The theory demonstrates that both the political community & the economic market presuppose standards of conduct that regulate interaction of their members. The standards include two essential types of legal acts, namely, statutes, which are fundamental acts of public law, & contracts, which are fundamental acts of private law. The dichotomy of legal acts implies virtually all the criteria that Roman & Continental lawyers have found important for distinguishing public & private law (source, bindingness, hierarchy, interest, subjects, etc). The division of a legal system into private & public law can be positivized in several ways. However, a liberal, democratic, & social legal system ought to meet the following principles, which guarantee the public law status of political parties: explicit recognition of the public law personality; justiciability; constitutionality; transparency; democracy; solidarity. The principles are followed by the Draft Bill on Political Parties, which was prepared by the Croatian Law Center in May 2002 & was adopted, with some changes, by the Committee on Constitution, Rules of Order, & Political System of the Croatian Parliament in July 2002. 90 References. Adapted from the source document.
Senjski statut iz 1388. bio je predmetom detaljnih istraživanja hrvatskih pravnika i povjesničara. No, u pravnoj tradiciji Senja postoji još jedno važno pravno vrelo koje se nije dovoljno koristilo u istraživanju povijesti Senja, njegova ustroja i razvoja pravnih instituta na hrvatskim pravnim prostorima u XVIII. st. Riječ je o Senjskom statutu iz 1757. koji je donijela vladarica Marija Terezija. Statut je pisan na talijanskom i njemačkom jeziku. Senj je u to doba bio izuzet ispod uprave bana i Sabora te je u sastavu Vojne krajine i njezinih organa vlasti. No, Senj ima status slobodnog kraljevskog grada i nakon pritužbi Hrvatskog sabora o kršenju prava grada njegov položaj, organizacija i privilegije utvrđeni su Statutom. Senj i dalje nije pod ingerencijom bana i Sabora, ali se nalazi u sastavu Trgovačke intendance (tzv. Austrijskog primorja od Trsta do Karlobaga). Statut sadrži brojne propise o ustroju organa vlasti u gradu (Malo vijeće, kancelar), načinu njihova izbora, poglavarstvu, sudu (gradski i plemićki sudac), liječniku, kirurgu i ljekarniku, uredu za čistoću, trgovačkim povlasticama grada, sudskom postupku, odvjetnicima, obiteljskom i nasljednom pravu, pomorskom pravu, zaštiti šuma itd. ; The Senj Statute from 1388 has been the subject of detailed research by Croatian lawyers and historians. However, in the legal tradition of Senj there still exists one more important legal source which has not been used enough in the research of the history of Senj, its structure and development of legal institutes in Croatian legal areas in the 18th ckentury. It is the Senj Statute from 1757 which was introduced by the ruler Maria Theresa. The statute is written in Italian and German languages. At that time Senj was exempt from the administration of the ban and parliament and was in the system of the Military Border and its authorities. However, Senj had the status of a free royal city and after complaints of the Croatian parliament about the violation of rights of the city its status, organisation and privileges were ...
The Croatian Constitutional Court, by its decision of 24 June 1992, partly rejected a request to start proceedings, & partly terminated already started proceedings, to determine the constitutionality of some thirty emergency decrees passed by the President of Croatian Republic during the undeclared war with Serbia & Yugoslav People's Army in the second half of 1991. The Court backed its decision inter alia by the following arguments: The President has the power to pass emergency decrees without first declaring a state of emergency. Presidential emergency decrees can be retroactive, since the Croatian Constitution does not specifically forbid their retroactivity. The Court's reasoning, which endorses a permanent coup d'etat, is probably a corollary of the idea, taken for granted by some Croatian constitutional lawyers, that the Croatian Constitution is modeled on the Constitution of the French 5th Republic, so that the sweeping powers of the French President belong also to his Croatian counterpart. The paper challenges the idea & discusses the relevance of comparative constitutional theory for Croatian constitutional practice. The first three sections demonstrate that, despite political similarities between the early years of the French 5th Republic & the Croatian Republic, the two semi-presidential systems differ in several important constitutional & legal respects so that the powers -- especially emergency powers -- of the French President cannot be used as a persuasive authority to interpret powers of the Croatian President. Section four indicates that if anything in the French law is authoritative in interpreting Croatian constitutional provisions on state of emergency, it is the effort of the French Conseil d'etat to control, to a limited extent, the legality of presidential emergency decrees. The last section points out that assumptions used by the Croatian Constitutional Court in interpreting presidential powers are more in accord with Weimar Constitution than with the Constitution of the 5th French Republic. The paper ends with the warning that unrestrained exercise of presidential powers in Croatia may lead, as it did in Mussolini's Italy & the Weimar Republic, to dictatorship. Adapted from the source document.
Austro-Ugarska Monarhija, stvorena austrijsko-mađarskim kompromisom 1867. godine, bila je i za ondašnje pravnike neobična pojava, koja se nije uklapala u onodobnu državnopravnu tipologiju "složenih država". Bio je to rezultat stalnih sukobljavanja između austrijskih političkih krugova, koji su težili što jačoj integraciji pod habsburškim žezlom sjedinjenih entiteta s jedne strane, a s druge mađarskih političkih krugova, koji su težili što većoj, a neki i potpunoj državnoj samostalnosti Ugarske. Kako Ugarska nije smogla snage osnovati svoju nacionalnu banku (a koja bi tiskala i vlastite novčanice), to je Austrijska nacionalna banka 1878. postala Austro-ugarska banka, te je kao zajednička središnja banka imala skrbiti o zajedničkoj valuti, najprije austrijskoj forinti, a zatim austro-ugarskoj kruni, te tiskati zajedničke novčanice. Što zbog političkih razmimoilaženja, što zbog državnopravnih nejasnoća, zajedničke austrougarske novčanice bile su predmet sporova jer su im obje strane pridavale veliko simbolično značenje, a i po reakcijama javnosti vidljivo je koliko je važno bilo ovo pitanje. Kako bi predmet rada bio što razumljiviji, u uvodu je objašnjena problematika državnopravne prirode austro-ugarske državne sveze, a zatim su analizirane novčanice po kronološkom redu njihova puštanja u optjecaj (tri novčanice austrijskih forinti te devetnaest austro-ugarskih kruna). Ondje gdje je to bio slučaj opisane su katkad i burne reakcije javnosti kao pokazatelj političkih sukoba, koji su se javljali u Monarhiji, kojom je dominirao austrijsko-mađarski dualizam. ; Created by the Austro-Hungarian Compromise in 1867, the Austro-Hungarian Monarchy was an unusual construct even for the lawyers of that time, and did not fit into the then state-law typology of "complex states". It was the result of constant confrontations between Austrian political circles, which wanted to increase the integration of entities unified under the Habsburg crown, on the one hand, and on the other of Hungarian political circles, which aspired to the maximum, even to the complete state independence of Hungary. As Hungary did not have the strength to found its own national bank (which would issue its own banknotes), in 1878 the Austrian National Bank became the Austro- Hungarian Bank, and as the common central bank it was in charge of and issued the common currency, first the Austrian forint, and then the Austro-Hungarian krone. Partly because of political differences, partly because of constitutional vagueness, the common Austro-Hungarian banknotes were a subject of disputes because both sides gave them a great symbolical importance, and the reactions of the public show how important this issue was.
Milan Tolić (Split, 1. rujna 1899. – 20. studenoga 1990.) splitski je slikar, scenograf, pedagog i karikaturist čiji opus karikatura još nije dovoljno istražen. U članku se analizira album Tolićevih karikatura Osijek u karikaturi tiskan 1940. godine u Građanskoj tiskari u Osijeku na temelju originalnih slikarovih crteža. Tolićev je album zbirka crteža u kojoj su razvrstani u skupine: glumci, odvjetnici, liječnici, članovi Trgovačke komore, profesori, industrijalci, trgovci, obrtnici, policajci, gradski činovnici, gostioničari i bankari. Ukupno tristo lica gleda nas sa 187 stranica u petnaest skupnih i dvjesto dvadeset i osam pojedinačnih karikatura. Album Tolićevih crteža donosi karikature pretežno rađene perom te u manjoj mjeri olovkom i tušem. S tehničke strane sve su karikature izvedene na sličan način – Tolićev crtež u albumu jednostavan je, prepoznatljiv i čitljiv. Autor se predstavlja kao siguran crtač i vješt opservator koji u čistoj linearnoj tvorbi vješto grafički bilježi lakim ritmom i sumarnim zatvaranjem linija figure u pokretu. Obrisna linija crteža teče u dužim neprekinutim linijama, a strukturalna ponegdje u svojim kontrastnim odnosima očitava teksture materijala. Likovi su prikazani en face i u profilu, a karikirani likovi često su prikazani u poslu koji po svojoj profesiji obavljaju. U navedenim karikaturama likovni izričaj Tolić gradi najčešće na čitavoj figuri, ali svoju osobnu umjetničku fiksaciju usmjerava na glavu, neiscrpno bogat i zanimljiv likovni sadržaj, koji deformira, korigira i mijenja dok ne ustanovi što najbolje odgovara karakteru prikazanih modela. Tako se ironija izražena naglašenom likovnom gestom ne zaustavlja samo na vanjštini, nego i u emocionalnoj komunikaciji premda su likovi u svojoj deformiranoj potenciranosti ponajprije fizički karakterizirani. Kao i u Tolićevu slikarskom opusu, i u Tolićevoj karikaturi (što dolazi do izražaja i u ovom albumu) postoje oscilacije vidljive u likovnoj kvaliteti karikarura. Tolić, britak opservator, u nekim karikaturama postaje ilustrativan, blijed, međutim s obzirom na broj karikatura to je donekle i razumljivo. Skupne karikature u albumu komuniciraju s gledateljstvom raskošnim rječnikom crte, a sve to na smiješnoj i satiričkoj osnovi u komici crte i oblika, ali i duhovitosti gesta i grimasa. Album Osijek u karikaturi zapravo je prikaz Osijeka krajem tridesetih godina dvadesetog stoljeća u njegovim intimnim sferama u relacijama vremena, prostora i ljudi, čime autor uspješno referira osječki politički, društveni i javni život. Tolićeve karikature imponiraju svojim iskrenim laganim humorom koji dobroćudno ismijava karikirane likove. Album Osijek u karikaturi vrijedan je Tolićev prinos našoj likovnoj umjetnosti karikaturalnog izraza. ; Milan Tolić (Split, September 1, 1899 – November 20, 1990) was a painter, stage designer, pedagogue and caricaturist from Split, whose caricature opus has not been studied sufficiently. The paper analyses Tolić's album of caricatures named Osijek in Caricature which was printed in Građanska tiskara in Osijek in 1940 and was based on painter's original drawings. Tolić's album is a collection of drawings categorized into groups: actors, lawyers, doctors, members of the Chamber of Commerce, professors, industrialists, merchants, craftspeople, policeofficers, city clerks, innkeepers and bankers. There are three hundred faces presented on 187 pages in fifteen group and two hundred twenty-eight individual caricatures. Tolić's album of drawings presents mostly caricatures done for the most part in pen, and some were done in pencil and ink. From the technical standpoint all the caricatures were done in a similar manner – Tolić's drawing in the album is recognizable and readable. The author is presented as a skillful artist and keen observer, expertly recording figures in motion in easy rhythm by summarizing the lines of a moving figure. The outline of the drawing runs in longer uninterrupted lines, and the structural lines are sometimes providing texture of materials in their contrasted relationships. The characters are presented full face and in profile, and the caricatural characters are often drawn performing the work typical for their profession. Tolić builds his artistic style mostly on the whole figure, but directs his personal artistic attention to the head, immensely rich and interesting in its artistic content, which he deforms, corrects and changes until he finds the traits which best fit the character of the models drawn. Thus, the irony expressed in the excessive artistic style is not restricted to the outward appearance, but also in an emotional communication, although the persons are primarily presented physically through their deformed excessiveness. The group caricatures in the album communicate to the public through the flourishing dictionary of the line, all built upon a funny and satirical basis in the comedy of line and form, but also in the humor of gestures and grimaces. The album Osijek in Caricature is in fact the presentation of Osijek of the late Thirties of the Twentieth century in its intimate spheres in the relations of time, space and people, whereby the author successfully refers to the political, social and public lives of Osijek. Tolić's caricatures impress by their sincere light-hearted humor, which good-naturedly mock the caricatured characters. The album Osijek in Caricature is a valuable contribution of Milan Tolić to our visual arts of caricatural expression.
