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（斯普利特，1。1899年9月-1899年9月1990年11月20日，一位斯普利茨基画家、一个场景、一位老师和一幅尚未被调查的漫画。本文分析了托里奇的漫画家奥西耶克在1940年漫画中的画册。Osijeka的民间出版社，根据原画。Toliće v是一本绘画集，由演员、律师、医生、商会成员、教授、实业家、贸易商、临时工、警察、市政府官员、客人和银行家组成。从187页到第15页，总共有300张面孔看着我们，还有28幅个人漫画。Tolice画集提供了过多的羽毛和较少的钢笔和淋浴的漫画。S tehničke strane sve su karikature izvedene na sličan način–Tolićev crtežu album jednostavan je，preoznatljiv ičitljiv。作者代表了一个安全的绘画和一个技巧观察者，在纯粹的线性设计中，他注意到了最简单的节奏和流畅的运动线闭合。带状线条以长而连续的线条流动，有时纹理在其对比关系中具有结构性。角色显示在面部和侧面，角色通常显示在他们在职业中所做的工作中。在这些漫画中，托利奇的角色最频繁地建立在整个人物身上，但他个人的艺术固定是针对头部、公正有趣的图形内容，变形、调整和改变，直到他建立起所展示的模型中最好的角色。突出的人物手势所表达的讽刺不仅止于外在，而且止于情感交流，尽管人物的身体特征是其变形的潜力。在Tolice的绘画池中，Tolice的漫画（在这本专辑中进行了表达），有一种漫画品质的视觉感知。英国观察家托利克在一些漫画中变得生动、苍白，但考虑到漫画的数量，这是可以理解的。这张专辑的集体漫画传达了鲁莽语言的可见性，所有这些都在有趣和讽刺的基础上，在绘画和造型的漫画中，还有手势和污垢的有趣。奥西耶克在漫画中的专辑实际上是30世纪末奥西耶k在其个人时间、空间和人的领域中的一张照片，其作者成功地提及了情感政治、社会和公共生活。Tolićeve karikature imponiraju svojim iskrenim laganim幽默koji dobroćudno ismijava karikirane likove。Osijek在漫画中的专辑值得Tolić为我们漫画表达的人物艺术做出贡献。
{"title":"Album karikatura Osijek u karikaturi Milana Tolića","authors":"Dubravka Kuščević, Marija Brajčić","doi":"10.38003/zrffs.14.9","DOIUrl":"https://doi.org/10.38003/zrffs.14.9","url":null,"abstract":"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.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44577334","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The discourse of medical encounters is an excellent example of both institutional talk and the discourse of power and its prominent features can be analysed from various aspects. This paper deals with interruption as an important characteristic of both doctor-patient communication and institutional talk in general. The research is focused on comparing the ways doctors and patients interrupt each other and the amount of power they need for this. First, some previous research in this field has been reviewed – it is discussed how interruptions are different from overlaps, how typical it is for patients to interrupt their doctors, how and why doctors and patients interrupt each other and whether they have equal rights when it comes to interrupting their interlocutors. As we aimed at checking these results and investigating if, how and when patients interrupted their doctors, a corpus of 37 recordings made in a tertiary referral hospital in Belgrade, Serbia, in the department of pulmonology, has been analysed. Examples of interruptions by doctors and patients were analysed according to the principles of conversation analysis and critical discourse analysis. The obtained results confirmed an ever-present asymmetry in doctor-patient communication, although it was not as conspicuous as it had been stated in some previous research. Finally, the difference between the ways in which doctors and patients interrupt each other and the reasons behind these interruptions were emphasized.
{"title":"Discourse of Power from the Aspect of Interruption in Medical Encounters","authors":"D. Sinadinović","doi":"10.38003/zrffs.14.8","DOIUrl":"https://doi.org/10.38003/zrffs.14.8","url":null,"abstract":"The discourse of medical encounters is an excellent example of both institutional talk and the discourse of power and its prominent features can be analysed from various aspects. This paper deals with interruption as an important characteristic of both doctor-patient communication and institutional talk in general. The research is focused on comparing the ways doctors and patients interrupt each other and the amount of power they need for this. First, some previous research in this field has been reviewed – it is discussed how interruptions are different from overlaps, how typical it is for patients to interrupt their doctors, how and why doctors and patients interrupt each other and whether they have equal rights when it comes to interrupting their interlocutors. As we aimed at checking these results and investigating if, how and when patients interrupted their doctors, a corpus of 37 recordings made in a tertiary referral hospital in Belgrade, Serbia, in the department of pulmonology, has been analysed. Examples of interruptions by doctors and patients were analysed according to the principles of conversation analysis and critical discourse analysis. The obtained results confirmed an ever-present asymmetry in doctor-patient communication, although it was not as conspicuous as it had been stated in some previous research. Finally, the difference between the ways in which doctors and patients interrupt each other and the reasons behind these interruptions were emphasized.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43421092","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Tijekom ranoga novovjekovlja, a ponajprije u vrijeme mletačko-osmanskih ratova u 17. i 18. stoljeću, okosnicu mletačkih prekojadranskih kopnenih snaga činile su postrojbe pod nazivom Fanti oltramarini i Croati a cavallo (Cavalleria Croati), unovačene ponajprije s mletačkih posjeda od mletačkih stečevina u Istri do albanskoga i grčkoga uzmorja. Nastavljajući se na prethodna istraživanja problematike udjela Hrvata u mletačkim prekomorskim postrojbama u ranome novom vijeku, o čemu svjedoče i prethodno objavljeni radovi, u ovome se prilogu središnja tema istraživanja odnosi na udio Splićana u navedenim vojnim postrojbama tijekom 18. stoljeća. Rad je zasnovan na raščlambi gradiva pohranjena u Državnome arhivu u Veneciji (Archivio di Stato di Venezia) (fond: Inquisitori sopra l’amministrazione dei pubblici ruoli) u sklopu kojega su za navedeno razdoblje sačuvani cjeloviti popisi vojnoga ljudstva unutar pukovnija i satnija. Analiziraju se, temeljem sačuvanih podataka, njihovi osobni podatci, kao i fizičke značajke (dob, statura, boja kose). Raščlamba dokumenata pokazuje da su u brojčanome smislu Splićani činili jednu od najbrojnijih hrvatskih regionalnih formacija u mletačkome pješaštvu. Razvidno je, nadalje, kako su vojnim postrojbama u kojima su djelovali splitski pješaci zapovijedali istaknuti onovremeni vojni zapovjednici, zavičajem iz Dalmacije i Boke, a razvidno je i da su postrojbe (satnije, odnosno pukovnije) bile izrazito mobilne i raspoređivane diljem mletačkih kopnenih i prekomorskih stečevina. Na kraju rada zaključuje se kako problematika udjela Hrvata u mletačkim vojnim postrojbama, u ovome slučaju Splićana, zahvaljujući bogatstvu izvora ostavlja još dovoljno prostora za buduća znanstvena istraživanja. U prilogu se donosi zbiran popis dosada istraženih pješaka iz Splita u mletačkim prekomorskim pješačkim postrojbama.
在新年前夕，至少在17千年战争期间。18几个世纪以来，牛奶粒的土地强度过大，是由被称为Fanti oltramarini、Croati和cavallo（Cavalleria Croati）的植物组成的，这些植物是在伊斯特里亚到阿尔巴尼亚和希腊的牛奶葡萄之前购买的。在以往关于克罗地亚参与海外世纪初牛奶问题的研究的基础上，作为见证人和先前发表的工作，特此增加18世纪剪接公司在上述军事单位中所占份额的中期研究主题。几个世纪以来。这项工作基于威尼斯国家档案馆（Archivio di Stato di Venezia）（基金：Inquisitori sopra l‘amministrazione dei pubblici ruoli）中存储的城市分布，该档案馆在指定时期内保存了殖民地和卫星内的完整士兵名单。根据存储的数据、他们的个人数据以及身体特征（年龄、状态、头发颜色）对他们进行分析。电子表格显示，从数字意义上讲，Splićani是乳制品领域中克罗地亚人最多的地区之一。很明显，进行流沙作业的军事部队已经指示了当时的军事指挥官，他们从达尔马西亚和博卡打来电话，很明显，这些设备（数小时或更长时间）具有高度机动性，分布在牛奶和多余肥料的土地上。最后，克罗地亚参与乳制品军事的问题是，在这种情况下，由于来源丰富，剪接公司为未来的科学研究留下了足够的空间。来自斯普利特的探索行人列表可在乳制品海外行人中找到。
{"title":"Splićani u mletačkim prekomorskim pješačkim postrojbama u 18. stoljeću","authors":"L. Čoralić","doi":"10.38003/zrffs.14.2","DOIUrl":"https://doi.org/10.38003/zrffs.14.2","url":null,"abstract":"Tijekom ranoga novovjekovlja, a ponajprije u vrijeme mletačko-osmanskih ratova u 17. i 18. stoljeću, okosnicu mletačkih prekojadranskih kopnenih snaga činile su postrojbe pod nazivom Fanti oltramarini i Croati a cavallo (Cavalleria Croati), unovačene ponajprije s mletačkih posjeda od mletačkih stečevina u Istri do albanskoga i grčkoga uzmorja. Nastavljajući se na prethodna istraživanja problematike udjela Hrvata u mletačkim prekomorskim postrojbama u ranome novom vijeku, o čemu svjedoče i prethodno objavljeni radovi, u ovome se prilogu središnja tema istraživanja odnosi na udio Splićana u navedenim vojnim postrojbama tijekom 18. stoljeća. Rad je zasnovan na raščlambi gradiva pohranjena u Državnome arhivu u Veneciji (Archivio di Stato di Venezia) (fond: Inquisitori sopra l’amministrazione dei pubblici ruoli) u sklopu kojega su za navedeno razdoblje sačuvani cjeloviti popisi vojnoga ljudstva unutar pukovnija i satnija. Analiziraju se, temeljem sačuvanih podataka, njihovi osobni podatci, kao i fizičke značajke (dob, statura, boja kose). Raščlamba dokumenata pokazuje da su u brojčanome smislu Splićani činili jednu od najbrojnijih hrvatskih regionalnih formacija u mletačkome pješaštvu. Razvidno je, nadalje, kako su vojnim postrojbama u kojima su djelovali splitski pješaci zapovijedali istaknuti onovremeni vojni zapovjednici, zavičajem iz Dalmacije i Boke, a razvidno je i da su postrojbe (satnije, odnosno pukovnije) bile izrazito mobilne i raspoređivane diljem mletačkih kopnenih i prekomorskih stečevina. Na kraju rada zaključuje se kako problematika udjela Hrvata u mletačkim vojnim postrojbama, u ovome slučaju Splićana, zahvaljujući bogatstvu izvora ostavlja još dovoljno prostora za buduća znanstvena istraživanja. U prilogu se donosi zbiran popis dosada istraženih pješaka iz Splita u mletačkim prekomorskim pješačkim postrojbama.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42087140","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later “worked on” by the artist, becoming the canvas for his paintings. The scenes he chose – often drastic, depicting rape and violence – were painted into his canvases, creating a deformed image of the world that “emerged” from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon’s death, his London studio (7, Reece Mews), restored by conservators, was “repeated” in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon ‘archive’ collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20th century.
弗朗西斯·培根主要根据百科全书、流行杂志、小报、海报和包装上发表的照片作画。他对大师画作的复制品很感兴趣。他用了穆布里奇的照片。照片被培根视为工具，后来被这位艺术家“加工”，成为他绘画的画布。他选择的场景——通常是激烈的，描绘强奸和暴力——被绘制在他的画布上，创造了一个从两次世界大战的恐怖中“浮现”出来的变形世界形象。他根据朋友的照片画肖像。这些人通常与艺术家有情感联系。他根据自动摄影中拍摄的一系列照片绘制自画像，并从中挑选了几张作为绘画的基础。真实的事物和人应该存在于分配给他们的虚构空间中。培根通过破坏绘画中的文学性，试图找到绘画中所期望的相似性作为其主体，从而重新发现现实主义。在画肖像时，他试图捕捉人物的外表。弗朗西斯·培根去世后，他的伦敦工作室（7，Reece Mews）在都柏林的休·莱恩画廊（Hugh Lane Gallery）的空间里被“重复”。它包含了大约7500件物品，其中包括艺术家撕毁的许多照片、他的爱人和朋友的照片、黑白复制品。在都柏林收集的培根“档案”现在无声地暗示了这位艺术家的创作过程，尽管对他进行了大量研究并记录了对话，但他仍然是20世纪最神秘的艺术家之一。
{"title":"Francis Bacon (1909-1992)","authors":"Eleonora Jedlińska","doi":"10.38003/zrffs.14.11","DOIUrl":"https://doi.org/10.38003/zrffs.14.11","url":null,"abstract":"Francis Bacon painted pictures based mostly on photographs published in encyclopaedias, popular magazines, the tabloid press, posters and packaging. He was interested in reproductions of paintings by great masters. He used photographs by Muybridge. Photographs, treated by Bacon as tools, were later “worked on” by the artist, becoming the canvas for his paintings. The scenes he chose – often drastic, depicting rape and violence – were painted into his canvases, creating a deformed image of the world that “emerged” from the horrors of both world wars. He painted portraits based on his photographs of friends. These were usually people with whom the artist was emotionally connected. He painted self-portraits base on a series of photographs taken in automatic photography, from which he selected several to form the basis of his paintings. Real things and persons should exist in the fictional space assigned to them. By destroying literalism in painting, Bacon wanted to find the similarity desired in painting as its principal, so to rediscover realism. When painting a portrait, he tried to capture the appearance of the figure. After Francis Bacon’s death, his London studio (7, Reece Mews), restored by conservators, was “repeated” in the space of the Hugh Lane Gallery in Dublin. It contains about 7,500 objects, among them numerous photographs which had been torn up by the artist, photographs of his lovers and friends, black and white reproductions. The Bacon ‘archive’ collected in Dublin is now a silent hint of the creative process of the artist, who despite numerous studies devoted to him and recorded conversations, still remains one of the most inscrutable artists of the 20th century.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41571324","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
U procesu učenja stranoga jezika motivacija kao jedan od afektivnih čimbenika ima vrlo važnu ulogu. Tijekom procesa učenja motivacija se mijenja. Povezana je s dinamičnim promjenama i različitim unutarnjim i vanjskim utjecajima kojima je učenik izložen, stoga u tom procesu dolazi do čestih fluktuacija motivacije (Dörnyei i Skehan 2005). Motivacija u svojoj pojavnosti bitno utječe na način i tijek usvajanja stranoga jezika određujući joj intenzitet, tip, trajanje i učinkovitost. Ovaj rad je nastavak istraživanja o motivaciji za učenje francuskoga i talijanskoga jezika koje je provedeno tijekom školske godine 2019./2020. u srednjoj strukovnoj školi u Dubrovniku. U radu se prikazuju rezultati istraživanja provedenoga na uzorku dvije skupine učenika srednje strukovne škole, jedne koja uči francuski jezik (N = 124) i druge koja uči talijanski jezik (N = 146). Kao mjerni instrument korištena je prilagođena inačica Upitnika za mjerenje tipa i intenziteta motivacije učenika za učenje stranoga jezika autorice Mihaljević Djigunović (1998). Analiza podataka provedena je metodom deskriptivne i inferencijalne statistike. Cilj istraživanja bio je ispitati odnos motivacije i varijabla spola, duljine učenja, ocjene, izloženosti izvannastavnim sadržajima, kao i boravka u zemljama francuskoga/talijanskoga govornog područja. Rezultati istraživanja pokazali su značajnu povezanost motivacije i navedenih varijabla u skupini učenika francuskoga jezika, a u skupini učenika koji uče talijanski jezik povezanost ovih varijabla uočena je samo na određenim ljestvicama motivacije. Nekolicina istraživanja bavi se motivacijom za učenje ovih dvaju stranih jezika u hrvatskome obrazovnom kontekstu. Stoga dobiveni rezultati pridonose spoznajama o motivaciji za učenje francuskoga i talijanskog jezika kao stranih jezika i mogu biti korisni istraživačima u području OVIJ-a i nastavnicima stranih jezika.
在外语学习过程中，动机作为一个有效因素，发挥着非常重要的作用。在学习动机的过程中，它会发生变化。它与学生所面临的动态变化和不同的内部和外部影响有关，因此这个过程会导致频繁的动机波动（Dörnyei和Skehan，2005）。清晰的动机影响着它采用外语的方式，决定了外语的强度、类型、持续时间和效率。这项工作继续研究了2019/2020学年学习法语和意大利语的动机。杜布罗夫尼克高中。这项研究以两名高中生为样本，一名学习法语（N=124），另一名学习意大利语（N=146）。Kao mjerni乐器korištena je prilagořena inačica Upitnika za mjerenje tipa i inteziteta motivacije učenika za učenje stranoga jezika autorice MihaljevićDjignović（1998）。数据分析采用描述性和推断统计学方法。这项研究的目的是检验动机与性别、学习时间、评价、接触非凡内容以及在法语/意大利语国家居住的可变性之间的关系。研究结果表明，动机与法国学生组中提到的变量之间存在显著联系，而学习意大利语的学生组仅在动机的某些阶段观察到这些变量的联系。一些研究是为了在克罗地亚的教育背景下学习这两种外语。因此，所获得的结果提供了学习法语和意大利语作为外语的动机的知识，并且可以对OVIJ领域的研究人员和外语教师有用。
{"title":"Ispitivanje motivacije za učenje francuskoga i talijanskoga jezika u hrvatskome obrazovnom kontekstu","authors":"Ariana Violić-Koprivec, Jasenka Maslek","doi":"10.38003/zrffs.14.1","DOIUrl":"https://doi.org/10.38003/zrffs.14.1","url":null,"abstract":"U procesu učenja stranoga jezika motivacija kao jedan od afektivnih čimbenika ima vrlo važnu ulogu. Tijekom procesa učenja motivacija se mijenja. Povezana je s dinamičnim promjenama i različitim unutarnjim i vanjskim utjecajima kojima je učenik izložen, stoga u tom procesu dolazi do čestih fluktuacija motivacije (Dörnyei i Skehan 2005). Motivacija u svojoj pojavnosti bitno utječe na način i tijek usvajanja stranoga jezika određujući joj intenzitet, tip, trajanje i učinkovitost. Ovaj rad je nastavak istraživanja o motivaciji za učenje francuskoga i talijanskoga jezika koje je provedeno tijekom školske godine 2019./2020. u srednjoj strukovnoj školi u Dubrovniku. U radu se prikazuju rezultati istraživanja provedenoga na uzorku dvije skupine učenika srednje strukovne škole, jedne koja uči francuski jezik (N = 124) i druge koja uči talijanski jezik (N = 146). Kao mjerni instrument korištena je prilagođena inačica Upitnika za mjerenje tipa i intenziteta motivacije učenika za učenje stranoga jezika autorice Mihaljević Djigunović (1998). Analiza podataka provedena je metodom deskriptivne i inferencijalne statistike. Cilj istraživanja bio je ispitati odnos motivacije i varijabla spola, duljine učenja, ocjene, izloženosti izvannastavnim sadržajima, kao i boravka u zemljama francuskoga/talijanskoga govornog područja. Rezultati istraživanja pokazali su značajnu povezanost motivacije i navedenih varijabla u skupini učenika francuskoga jezika, a u skupini učenika koji uče talijanski jezik povezanost ovih varijabla uočena je samo na određenim ljestvicama motivacije. Nekolicina istraživanja bavi se motivacijom za učenje ovih dvaju stranih jezika u hrvatskome obrazovnom kontekstu. Stoga dobiveni rezultati pridonose spoznajama o motivaciji za učenje francuskoga i talijanskog jezika kao stranih jezika i mogu biti korisni istraživačima u području OVIJ-a i nastavnicima stranih jezika.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49504953","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The paper evaluates works of ancient authors who mention and provide details of the burial of fallen soldiers in ancient Greece, and then it compares them with preserved archaeological finds. Textual analysis shows a long-term tradition of war graves on battlefields. The commanders of the troops provided funeral services in the first place, as the extradition request of bodies was equal to the recognition of defeat. In most cases both sides had enough time to take care of their fallen after the battle, but there were exceptions when the last honors were rather provisional. In addition to burial directly on the battlefield, it seems that, depending on the circumstances, the removal of the remains to the hometown or burial outside the battlefield and outside the home also applies. The tombstones could have various forms, in the case of collective burials, tumuli with stelae bearing the names of the deceased were preferred, in the case of burial of military commanders, tombstones took the form of a monumental statue. Cremation burial is thought to have prevailed over inhumation.
{"title":"Burials of the Fallen in Ancient Greece","authors":"Lucia Nováková","doi":"10.38003/zrffs.14.10","DOIUrl":"https://doi.org/10.38003/zrffs.14.10","url":null,"abstract":"The paper evaluates works of ancient authors who mention and provide details of the burial of fallen soldiers in ancient Greece, and then it compares them with preserved archaeological finds. Textual analysis shows a long-term tradition of war graves on battlefields. The commanders of the troops provided funeral services in the first place, as the extradition request of bodies was equal to the recognition of defeat. In most cases both sides had enough time to take care of their fallen after the battle, but there were exceptions when the last honors were rather provisional. In addition to burial directly on the battlefield, it seems that, depending on the circumstances, the removal of the remains to the hometown or burial outside the battlefield and outside the home also applies. The tombstones could have various forms, in the case of collective burials, tumuli with stelae bearing the names of the deceased were preferred, in the case of burial of military commanders, tombstones took the form of a monumental statue. Cremation burial is thought to have prevailed over inhumation.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48480382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Confrontarsi con “l’altro”/“il diverso” è uno dei modi universali della concezione del mondo. L’identificazione della propria comunità e la definizione del proprio io avviene attraverso le contrapposizioni con “l’altro”/“il diverso” partendo spesso da pregiudizi o stereotipi. Nel presente contributo ci proponiamo di indagare i riflessi linguistici della percezione di sé stessi e degli altri nella fraseologia italiana e croata. Tenendo conto delle considerazioni generali sui legami fondamentali tra lingua e cultura, vengono prese in esame le espressioni idiomatiche contenenti etnonimi. Gli esempi italiani si confrontano con gli esempi croati cercando di ricavare l’immagine degli “altri” nella fraseologia, ma anche le particolarità della cultura e mentalità espresse attraverso il modo di indicare lo straniero nelle due lingue. Infine, vengono illustrate le equivalenze e le differenze dellʼaspetto semantico e culturale delle espressioni idiomatiche tra le due lingue.
{"title":"Sulla percezione del diverso nella fraseologia italiana e croata","authors":"Antonia Luketin Alfirević, Katarina Matković","doi":"10.38003/zrffs.14.7","DOIUrl":"https://doi.org/10.38003/zrffs.14.7","url":null,"abstract":"Confrontarsi con “l’altro”/“il diverso” è uno dei modi universali della concezione del mondo. L’identificazione della propria comunità e la definizione del proprio io avviene attraverso le contrapposizioni con “l’altro”/“il diverso” partendo spesso da pregiudizi o stereotipi. Nel presente contributo ci proponiamo di indagare i riflessi linguistici della percezione di sé stessi e degli altri nella fraseologia italiana e croata. Tenendo conto delle considerazioni generali sui legami fondamentali tra lingua e cultura, vengono prese in esame le espressioni idiomatiche contenenti etnonimi. Gli esempi italiani si confrontano con gli esempi croati cercando di ricavare l’immagine degli “altri” nella fraseologia, ma anche le particolarità della cultura e mentalità espresse attraverso il modo di indicare lo straniero nelle due lingue. Infine, vengono illustrate le equivalenze e le differenze dellʼaspetto semantico e culturale delle espressioni idiomatiche tra le due lingue.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47043761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Anonymous of Ravenna wrote the Cosmography at the beginning of the eighth century, but his creation of the work cannot be determined more precisely. The Cosmography contains descriptions of the entire world in five books, the fourth of which includes a narration of Provincia Valeria Media. In describing the province, Anonymous of Ravenna referred to several authors’ works, including the Tabula Peutingeriana, Marcomir and Jordanes’ works, and other sources of unknown origin. Anonymous noted that Provincia Valeria Media was located between the Pannonia Superior and Pannonia Inferior, covering the area of the ancient provinces of Valeria and Savia. Anonymous listed the toponyms in Provincia Valeria Media’s territory, which he took from an early copy or transcript of the Tabula Peutingeriana. In Cosmography, Carniola was the western neighbour of Provincia Valeria Media, and it was bounded on the south by Liburnia Tarsaticensis. Regarding the name of Carniola, this researcher can assume that it was a later addition to the text of the Cosmography. Scholars disputed whether Provincia Valeria Media existed in the fifth century or whether Anonymous took its name from historical sources. Recent research has suggested that Anonymous borrowed the name Valeria from Jordan and the name Media Provincia from the Tabula Peutingeriana. He merged the two terms into Provincia Valeria Media. The actual historical value of the Cosmography is not the creation of the name Provincia Valeria Media but the early medieval data that Anonymous recorded in his book.
{"title":"Valeria Provincia in the Cosmography of Anonymous of Ravenna","authors":"R. Szántó","doi":"10.38003/zrffs.14.6","DOIUrl":"https://doi.org/10.38003/zrffs.14.6","url":null,"abstract":"Anonymous of Ravenna wrote the Cosmography at the beginning of the eighth century, but his creation of the work cannot be determined more precisely. The Cosmography contains descriptions of the entire world in five books, the fourth of which includes a narration of Provincia Valeria Media. In describing the province, Anonymous of Ravenna referred to several authors’ works, including the Tabula Peutingeriana, Marcomir and Jordanes’ works, and other sources of unknown origin. Anonymous noted that Provincia Valeria Media was located between the Pannonia Superior and Pannonia Inferior, covering the area of the ancient provinces of Valeria and Savia. Anonymous listed the toponyms in Provincia Valeria Media’s territory, which he took from an early copy or transcript of the Tabula Peutingeriana. In Cosmography, Carniola was the western neighbour of Provincia Valeria Media, and it was bounded on the south by Liburnia Tarsaticensis. Regarding the name of Carniola, this researcher can assume that it was a later addition to the text of the Cosmography. Scholars disputed whether Provincia Valeria Media existed in the fifth century or whether Anonymous took its name from historical sources. Recent research has suggested that Anonymous borrowed the name Valeria from Jordan and the name Media Provincia from the Tabula Peutingeriana. He merged the two terms into Provincia Valeria Media. The actual historical value of the Cosmography is not the creation of the name Provincia Valeria Media but the early medieval data that Anonymous recorded in his book.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49250109","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
La sottotitolazione, modalità traduttiva largamente utilizzata in Croazia, costituisce un tipo specifico di traduzione audiovisiva, la cui realizzazione richiede l’uso di tecniche particolari. Data la natura effimera dei sottotitoli (rimangono sullo schermo per la durata massima di sei secondi), finora in Croazia sono state svolte pochissime analisi traduttive e linguistiche di testi sottotitolati, benché si tratti di testi rivolti al vasto pubblico. Il presente contributo prende in esame il tema succitato dal punto di vista dell’italianistica croata, analizzando le modalità traduttive adottate nella sottotitolazione dal croato all’italiano del premiato cortometraggio spalatino Ritki Zrak (Aria rarefatta), girato nel 2016. In primo luogo viene descritta la varietà linguistica utilizzata nel film, classificabile come parlata giovanile della città di Spalato; in questa sezione viene sviluppata un’analisi sia sociolinguistica che dialettologica della varietà in questione. In seguito, vengono presentate le strategie di traduzione utilizzate solitamente nella sottotitolazione. L’analisi sarà svolta seguendo i modelli teorici proposti per l’analisi di questo tipo testuale, in particolare il modello di Gottlieb e quello di Lomheim, entrambi incentrati su una tassonomia di procedimenti il cui fine principale è di mantenere nel testo di arrivo il maggior numero di informazioni semantiche, stilistiche e culturali del testo di partenza. Particolare interesse sarà dedicato al trattamento degli elementi culturospecifici, problematici dal punto di vista traduttivo; nella cultura d’arrivo, infatti, molto spesso sono inesistenti e il traduttore deve trovare la soluzione migliore che resti il più fedele possibile alla cultura di partenza. Infine, sulla base dell’analisi condotta, verranno analizzate le caratteristiche del sottotitolaggio come tecnica di traduzione audiovisiva e si cercherà di fornire osservazioni generali sull’orientamento del metatesto in questo tipo di traduzione.
{"title":"Sottotitolare per capirsi meglio","authors":"Nada Županović Filipin, M. Rugo","doi":"10.38003/zrffs.14.3","DOIUrl":"https://doi.org/10.38003/zrffs.14.3","url":null,"abstract":"La sottotitolazione, modalità traduttiva largamente utilizzata in Croazia, costituisce un tipo specifico di traduzione audiovisiva, la cui realizzazione richiede l’uso di tecniche particolari. Data la natura effimera dei sottotitoli (rimangono sullo schermo per la durata massima di sei secondi), finora in Croazia sono state svolte pochissime analisi traduttive e linguistiche di testi sottotitolati, benché si tratti di testi rivolti al vasto pubblico. Il presente contributo prende in esame il tema succitato dal punto di vista dell’italianistica croata, analizzando le modalità traduttive adottate nella sottotitolazione dal croato all’italiano del premiato cortometraggio spalatino Ritki Zrak (Aria rarefatta), girato nel 2016. In primo luogo viene descritta la varietà linguistica utilizzata nel film, classificabile come parlata giovanile della città di Spalato; in questa sezione viene sviluppata un’analisi sia sociolinguistica che dialettologica della varietà in questione. In seguito, vengono presentate le strategie di traduzione utilizzate solitamente nella sottotitolazione. L’analisi sarà svolta seguendo i modelli teorici proposti per l’analisi di questo tipo testuale, in particolare il modello di Gottlieb e quello di Lomheim, entrambi incentrati su una tassonomia di procedimenti il cui fine principale è di mantenere nel testo di arrivo il maggior numero di informazioni semantiche, stilistiche e culturali del testo di partenza. Particolare interesse sarà dedicato al trattamento degli elementi culturospecifici, problematici dal punto di vista traduttivo; nella cultura d’arrivo, infatti, molto spesso sono inesistenti e il traduttore deve trovare la soluzione migliore che resti il più fedele possibile alla cultura di partenza. Infine, sulla base dell’analisi condotta, verranno analizzate le caratteristiche del sottotitolaggio come tecnica di traduzione audiovisiva e si cercherà di fornire osservazioni generali sull’orientamento del metatesto in questo tipo di traduzione.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49018027","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Using research investigating the effect of teacher assessment practices in secondary schooling in Croatia on student perceptions of fairness, this paper1 points out participating students’ perception of fairness of assessment, focusing on teacher assessment in three secondary school subjects, but particularly in the subject of English. The research overall included enquiry into the fairness of teacher assessment practices in three secondary school subjects. The implemented research was both of a quantitative and qualitative nature. The research design was intended to be both empirical, measuring students’ perception, and quasi-ethnographic, seeking to interpret these perceptions through understanding the context. Student questionnaires, involving a total of 330 students, teacher interviews, involving a total of 12 teachers, and analysis of teachers’ assessment documents were used to collect data that were then analysed within case studies. Each case study, totalling six in number, represented a teacher with two classes of students studying one of the chosen three subjects. Classes of secondary school students from two high schools studying the subjects of Biology, Croatian or English as a foreign language formed the sample groups. These students were asked to complete a questionnaire based on Likert response type items founded on the Student Perception of Assessment Questionnaire (SPAQ) and open-ended questions based on a questionnaire developed at the Centre for Schooling and Learning Technologies (CSaLT). The SPAQ items were measured by five scales. The teachers of these students were interviewed and also provided documents that illustrate how they assessed students in these three subjects. The investigation uncovered variations in responses to teachers and subjects and differences in student response between classes of the same teacher which are possibly indicative, among other elements, of the role of teacher personality factors. This investigation revealed that from the three secondary school subjects researched, students’ perception of the secondary school subject of English achieved the most positive rating among the sample of students involved in the research.
{"title":"Students’ Perception of Secondary School Teachers’ Assessment with Specific Reference to the Subject of English","authors":"Tania Blažević, Marijana Blažević","doi":"10.38003/zrffs.14.4","DOIUrl":"https://doi.org/10.38003/zrffs.14.4","url":null,"abstract":"Using research investigating the effect of teacher assessment practices in secondary schooling in Croatia on student perceptions of fairness, this paper1 points out participating students’ perception of fairness of assessment, focusing on teacher assessment in three secondary school subjects, but particularly in the subject of English. The research overall included enquiry into the fairness of teacher assessment practices in three secondary school subjects. The implemented research was both of a quantitative and qualitative nature. The research design was intended to be both empirical, measuring students’ perception, and quasi-ethnographic, seeking to interpret these perceptions through understanding the context. Student questionnaires, involving a total of 330 students, teacher interviews, involving a total of 12 teachers, and analysis of teachers’ assessment documents were used to collect data that were then analysed within case studies. Each case study, totalling six in number, represented a teacher with two classes of students studying one of the chosen three subjects. Classes of secondary school students from two high schools studying the subjects of Biology, Croatian or English as a foreign language formed the sample groups. These students were asked to complete a questionnaire based on Likert response type items founded on the Student Perception of Assessment Questionnaire (SPAQ) and open-ended questions based on a questionnaire developed at the Centre for Schooling and Learning Technologies (CSaLT). The SPAQ items were measured by five scales. The teachers of these students were interviewed and also provided documents that illustrate how they assessed students in these three subjects. The investigation uncovered variations in responses to teachers and subjects and differences in student response between classes of the same teacher which are possibly indicative, among other elements, of the role of teacher personality factors. This investigation revealed that from the three secondary school subjects researched, students’ perception of the secondary school subject of English achieved the most positive rating among the sample of students involved in the research.","PeriodicalId":34331,"journal":{"name":"Zbornik radova Filozofskog fakulteta u Splitu","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-12-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41913153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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