U radu se navodi i interpretira dvadesetak tradicijskih pasionskih pjesama, i običaja u okviru kojih se te pjesme kazuju, a koje govore o Mariji Magdaleni, Mariji Jakovljevoj i Mariji Salomi, koje su ...s Blaženom Djevicom Marijom pratile Isusa na Golgotu, stajale uz Isusa raspetoga na križu. Kad je prošla subota, kupile su miomirise s kojima su htjele pomazati Isusa u grobu. Usput su razgovarale tko će otkotrljati veliki kamen s groba kako bi ga pomazale. Kad su došle grobu, vidjele su da je kamen s groba otkotrljan, a grob prazan. Ušle su u grob i vidjele su mladića zaogrnutoga bijelom haljinom koji sjedi zdesna. Uplašile su se, a anđeo (mladić) im je rekao da se ne plaše jer je Isus uskrsnuo. Mladić im je rekao da idu Isusovim učenicima Petru i Ivanu i reknu im da Isus ide u Galileju i ondje će ga njegovi učenici vidjeti. Marije su se uplašile, pobjegle od groba do Petra i Ivana i obavijestile ih da je Isus uskrsnuo. Kada je Marija Magdalena obavijestila Petra i Ivana, vratila se grobu, a kod groba joj se ukazao Isus Krist.
Pjesme u radu interpretiraju se u kontekstu evanđelja i liturgije te u etnološkom i antropološkom kontekstu. Te pjesme i molitve zapisivane su tijekom prethodne dvadeset dvije godine u nekim mjestima u Republici Hrvatskoj te Bosni i Hercegovini. Sve te pjesme imaju izniman estetski značaj i u suglasju su s evanđeljima.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, UILJ, UKNU, UL, UM, UPUK
This paper presents the results of research on yield and calo during ripening of the Trappist cheese. The cheese has been produced for more than 140 years by the monks of the Marija Zvijezda ...Monastery (Mariastern Abbey) in Banja Luka. In 2008 cheese production has been restored and the cheese has been presented to the market in cooperation with the “Livač” Cooperative. The Trappist cheese is made in the form of a wheel weighing 1.6-2.0 kg and it has a natural rind that is yellowish, thin, and smooth. The conditions and the way in which it ripens are specific and give a special flavour to the cheese. The duration of the ripening is a minimum of 90 days and it happens under specific conditions of humidity and temperature. The cheese ripens on wooden boards and it is rotated and cleaned manually. Its consistency is soft, elastic, mild, and it is easily cut. The cut is smooth without or with very little holes. It is characterized by a clean scent of milk, slightly salty, and it melts easily. The cheese yield calculated for the Trappist cheese is 12.81 %. The actual cheese yield obtained after 90 days of cheese ripening is 10.74 %. Cheese weight changes with ripening time and weight loss at the end of the production cycle is 0.322 kg or 15.85 %. The amount of whole milk needed for one kilogram of the final cheese product is about 9.35 kg.
Oriented by visual, gender and ethnographic studies, and broadening the focus from the film itself to the reviews in the cinema press of the period, this article offers a new interpretation of the ...Russian film Bela, a work that has been largely overlooked by critics, directed by Andrej Gromov and written by Marija Kallaš in 1913. Despite being a cinematic adaptation of a 19th century short story composed by Michail Lermontov bearing the same title, and therefore presenting itself as a paradigmatic example of classic narrative cinema, Bela challenges the typical features and conventions of the genre, reversing the standards and experimenting with the peculiarities of the documentary genre, particularly with the aesthetics of the coeval cinematic travelogues. Additionally, Kallaš’s screenplay puts the female character at the very centre of the narrative, and transforms Bela, an exotic Circassian princess depicted through ethnic and gender stereotypes, from a passive icon into an active and mobile figure, immersed in the landscape, able to observe the world around her.
Marija Alseikaitė-Gimbutienė (Gimbutas) (1921–1994) was born and raised in Lithuania within a family of physicians and intellectuals devoted to the preservation of Lithuanian folk culture. She ...studied archaeology with Professor Jonas Puzinas who was the first scientifically trained archaeologist in independent Lithuania. Marija Gimbutas was thoroughly trained in Eastern European archaeology, Baltic prehistory, Indo-European linguistics, ethnology, history, folklore, mythology, and European languages taught by the most accomplished Lithuanian scholars in their fields. In 1942 she earned a Master՚s degree at Vilnius University for her thesis on “Burial Practices in the Lithuanian Iron Age.” In 1946 she earned her doctorate in archaeology from Tübingen University in Germany before immigrating to the United States in 1949. This paper traces her prodigious production of major publications and scholarly achievements fostered by her multidisciplinary education in Lithuania. It discusses the development of her Kurgan hypothesis, her excavations in Southeastern Europe, her theory of Old Europe, her formulation of archaeomythology, and the ancient veneration of the earth as the source of life.
Marija Brida (1912. – 1993.) jedna je od znamenitijih hrvatskih filozofkinja i sveučilišnih profesorica filozofije koja je djelovala sredinom i drugom polovicom dvadesetog stoljeća. Školovanje i ...djelovanje Marije Bride znakovito je za razumijevanje okolnosti i razvoja filozofije i akademskog etabliranja na našem prostoru. Na temelju njezina života i djela mogu se očitati tematske mijene i ispreplitanje osobnih interesa s utjecajima društvenih i političkih okolnosti u kojima je djelovala. U ovom članku bavim se Bridinim doprinosom hrvatskoj renesansnoj filozofskoj baštini, s posebnim naglaskom na Jurju Dubrovčaninu i njezinom intenzivnom suradnjom s časopisom Prilozi za istraživanje hrvatske filozofske baštine.
The paper shows the development of legal representation in the Principality of Serbia, with a special focus on the professional participation of women in court proceedings, shown through the ...character and work of Marija Milutinović Punktatorka, a teacher and the first female attorney in Serbia. In the judicial system of the Principality of Serbia, women were not prohibited from practicing law, which enabled an educated woman to pave the way for future women lawyers in the period of 'Little Serbia'. In the relevant literature, one can find rare texts in which the life and work of Marija Milutinović are mentioned casually and inconspicuously without an insight into the complete biography. By researching unpublished archival sources, significant information was obtained about the life and work of Marija Milutinović Punktatorka, the wife of the poet Sima Milutinović Sarajlija and the mother of the architect and professor of the Grande école, Dragutin (Dragiša) Milutinović. Marija Milutinović Punktatorka was born in 1809 into the Popović family in Timisoara. As the 'first Serbian' teacher, she educated girls and thus strove for women in the 19th century to fight for their place in the society. She was educated in Buda, where she also studied several sciences privately, with a 'very good approach and accuracy'. After the death of her husband, in October 1848, she opened a private elementary school in Belgrade. Soon, in 1849, she entered the civil service and started working as a teacher at the state school in Belgrade near the Great Church (Saborna crkva), where she received a pension in August 1874. Marija Milutinović's main motive to engage in legal representation stemmed from humane motives and not from material benefit. She practiced law even during her married life. She charged wealthier people, whom she successfully represented and won lawsuits in court with large compensation-modest, symbolic sums, more as a reward than as a fee (Ignjatović, 1860, p. 24). Even after her husband's death (1847), she continued to practice law and fulfil her husband's bequest, providing legal aid and representing the poor free of charge, which reflected badly on her impoverished family fund (Javor, 1862-1863; 1874-1893, p. 350). During the working life of Marija Milutinović, legal regulations did not prohibit women from practicing law, nor did the prohibition result indirectly. With the entry into force of the Law on Legal Representatives (1862), the previous decrees and orders, which often ad hoc solved the issue of providing legal aid in the Principality of Serbia. Officially, Marija Milutinović did not submit a request to be recognized as a lawyer before the competent authorities because she did not graduate from the Faculty of Law. In a formal sense, Marija Milutinović was never recognized by the Ministry as having the right to call herself a lawyer. Based on the real facts, it cannot be disputed that Marija Milutinović Punktatorka was the first woman in the Principality of Serbia to engage in a free profession, in this particular case, legal work.
Interpretativna vremenska lenta izlaže imaginarij o mačkama u južnoslavenskim običajima i vjerovanjima od Natka Nodila preko Tihomira R. Đorđevića i Ljubinka Radenkovića sve do suvremenih ...kulturnoanimalističkih istraživanja, i to kontekstualno vezano uz ostale Slavene i indoeuropsku komparativnu mitologiju. I dok se Nodilo oslanja na interpretaciju mitologije prirode Angela de Gubernatisa, Tihomir R. Đorđević prati etnografski materijal Južnih Slavena (što se tiče Hrvatske pomno je, među ostalim, istražio mačkogradivo u Zborniku za narodni život i običaje Južnih Slavena), a Ljubinko Radenković semiotički promatra mačku u simbolici svijeta Južnih Slavena, gdje zamjećuje da su čovjeku od domaćih životinja najbliži konj, ovca, krava i vol, a zatim slijede bik, koza, magarac, kokoš, svinja, pas i mačka. Završno se razmatra simbolika mačke u suvremenoj hrvatskoj vizualnoj kulturi s obzirom na to da je mačka iznimno jak zoosimbol postkonceptualne i transmedijalne prakse, odnosno “antropološke strukture imaginarnog”, da uporabimo Durandovu sintagmu.
An interpretive timeline presents the imaginary of cats in South Slavic customs and beliefs from Natko Nodilo through Tihomir R. Đorđević and Ljubinko Radenković all the way to contemporary cultural animal studies research, as contextually related to other Slavs and Indo-European comparative mythology. While Nodilo relies on Angelo de Gubernatis’s interpretation of the mythology of nature, Tihomir R. Đorđević follows the ethnographic material of the South Slavs (as for Croatia, he thoroughly researched, among other things, material related to cats in the Collection of Folk Life and Customs of the South Slavs), and Ljubinko Radenković conducts a semiotic analysis to identify the role of the cat in the symbolism of the conceptualization of world of the South Slavs, where he notes that, as far as domestic animals are concerned, the closest animals to man are the horse, sheep, cow and ox, followed by the bull, goat, donkey, hen, pig, dog and cat. Finally, the symbolism of the cat in contemporary Croatian visual culture is considered, given that the cat is a powerful zoosymbol of post-conceptual and transmedial practice, that is, the “anthropological structure of the imaginary”, to use Gilbert Durand’s phrase. Overall, these diverse interpretations, ranging from folklore and ethnology to transmedia art, provide a comprehensive exploration of the South Slavic cat and his/ her (not its) significance within the cultural and artistic context of the region.
Ženski list Ćaćić, Marta; Hebrang Grgić, Ivana
Libellarium,
07/2024, Letnik:
15, Številka:
1
Journal Article, Web Resource
Recenzirano
Odprti dostop
Objective. The aim of this paper is to explore the development and changes in the publishing policy of the women's magazine Ženski list, whose chief editor was Marija Jurić Zagorka. The magazine was ...published during the interwar period and significantly influenced the residents of the Kingdom of Yugoslavia and emigrants abroad with its content. Approach/Methodology. The analysis of the magazine was conducted based on the most visually striking and/or important issues from each year of publication, totaling 14 issues. The analysis included the number of pages, quantity of illustrations and advertisements, citation of responsibility data, and graphic and thematic changes in the magazine design. Sources from the Stare novine portal and the Center for Women's Studies were used. Results. The paper provides a brief historical overview of women's magazines worldwide, in Europe, and in the Kingdom of SHS/Yugoslavia. Furthermore, Marija Jurić Zagorka is highlighted as the journalist, and editor, followed by an analysis of the magazine issues. The uniqueness of this magazine lies in achieving high circulation and reaching readers from all social circles. Despite financial difficulties due to the non-receipt of subscriptions and economic crises, the magazine, in its 14 years of publication, kept up with innovations in the layout of visual and textual contributions. A significant increase in illustrations and advertisements is noted, indicating the magazine's close connection to its social environment, especially businesses and shops in Zagreb. There is also an observed increase in attributing authors to texts and photos or indicating the source from which the content was taken, demonstrating the editorial understanding of the concept of intelectual property. Originality/Value. This paper provides an overview of publishing and editorial practices. In addition to technical characteristics, the paper offers a partial insight into the magazine's content, placing it in the context of publishing for women, by women, in the 1920s and 1930s.
Cilj. Cilj je rada istražiti i analizirati nakladničku politiku časopisa za žene „Ženski list“ u razdoblju od 1925. do 1938. godine, kada je glavna urednica bila Marija Jurić Zagorka. Prikazat će se nakladnički koncept, a djelomično i sadržaj lista koji je imao značajan utjecaj na čitateljice u Kraljevini Jugoslaviji i na iseljenice u inozemstvu. Pristup/metodologija. Analiza časopisa provedena je na temelju vizualno najupečatljivijh i/ili važnijih brojeva iz svake godine izlaženja, ukupno 14 brojeva. Analiza obuhvaća sadržajnu analizu te analizu opsega publikacije, količine ilustracija i oglasa, načina navođenja podataka o odgovornosti te grafičke i tematske promjene oblikovanja časopisa. Korišteni su digitalizirani primjerci s portala Stare novine te primjerci koji se čuvaju u Centru za ženske studije. Rezultati. Rad donosi kratak povijesni pregled ženskih časopisa u svijetu, Europi te Kraljevini SHS/Jugoslaviji. Prikazana je djelatnost Marije Jurić Zagorke kao novinarke i urednice, a predstavljeni su i rezultati analize odabranih brojeva Ženskog lista. Specifičnost navedene publikacije leži u tome što je ostvarila velike naklade, a svojim je tematskim i grafičkim oblikovanjem uspjela prodrijeti do čitateljica iz svih društvenih slojeva. Unatoč financijskim poteškoćama zbog neslanja pretplata i ekonomske krize, list je u 14 godina izlaženja pratio novitete uređivanja slikovnih i tekstovnih priloga. Uočen je značajan porast broja ilustracija kao i reklama zbog čega se može zaključiti da je časopis bio usko vezan uz svoju okolinu, posebice uz zagrebačke obrte i radnje. Također se uočava i porast navođenja podataka o autorima uz tekstove i fotografije ili navođenje odakle je izvor preuzet čime je uredništvo pokazalo napredno shvaćanje koncepta intelektualnog vlasništva. Originalnost/vrijednost. Ovaj rad donosi pregled nakladničkih praksi pri uređivanju lista. Osim tehničkih karakteristika, rad pruža djelomičan uvid i u sadržaj lista te ga stavlja u kontekst nakladništva za žene od žena u periodu 1920-ih i 1930-ih godina.
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