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The paper deals with theatrological aspects of Nedjeljko Fabrio's texts on opera productions in his musical chronicles The Maestro and His Apprentice, in the magazine Republika from 1986 to 1994, which were afterwards published in the book titled The Children of Orpheus (2008) and subtitled »a contribution to the history of reception in Croatia.« Continuing the line of Croatian writers who considered and evaluated both the musical and theatrical-musical art and confirming the continuity of multiple and diverse interconnections between Croatian music and literature, in The Children of Orpheus, Fabrio critically considered both the literary and musical components of operas and their theatrical-musical realisation on the stage. In each chronicle about a particular opera performance, Fabrio analyses the libretto, investigates the genesis of the work, the reception of all its performances in the history of the Croatian opera theatre, but also the reception and production context in which the opera is performed and critically evaluates it. The Children of Orpheus became an indispensable source for future theatrological research of the Croatian opera theatre. [ABSTRACT FROM AUTHOR]

Change in the paradigm of the documentary heritage also leads to a change in the concept of memory institutions, whereby the most important function of a memory institution becomes active participation in the process of creating the collective memory. Audience engagement is important in this process. Evaluating the reception of documentary heritage communication allows us to assess the involvement of cultural users in cultural communication. Data from a study of the reception of visitors to an exhibition of one of the most important documents to the country’s statehood, the Act of 16 February, conducted using quantitative methods, showed that visitors to the museum where the Act of 16 February was on show rate the exhibition very highly and contribute to its communication in social networks and by oral communication. [ABSTRACT FROM AUTHOR]

The Slovenian reception of the novel and film Gone with the Wind has changed considerably over the last eight decades. Prior to World War II, responses in both left- and right-wing publications were largely favourable. Even the characterization of certain figures -- which later became controversial because of the stereotypical portrayal of African-Americans -- was pointed out as a positive aspect in most reviews at the time. After a socialist system was established on the Slovenian territory, responses to the novel/film became more critical, and in many articles a negative attitude towards the United States was expressed, something that was very characteristic of the immediate post-war years. After relations between Yugoslavia and the United States improved significantly in the aftermath of the Tito-Stalin split in 1948, critical opinions about Gone with the Wind were still expressed, but some sentiments about the novel/film were also distinctly positive. A similarly heterogeneous reception was characteristic of the two decades after Yugoslavia co-founded the Non-Aligned Movement and again distanced itself from the West. In the last decade before the end of the socialist system in Slovenia, Gone with the Wind was mentioned in serial publications much less frequently. In the 1990s, the novel and film were again featured in serial publications more prominently, but neither during that decade nor during the first decade of the new millennium was there much criticism of the novel/film. Several longer articles in the last ten years have reported on the increasing unacceptability of Gone with the Wind in the United States, above all on account of its alleged racism. However, most authors of these articles did not editorialize, which makes the contemporary reception of Gone with the Wind much less ideologically charged than was the case during the socialist period. [ABSTRACT FROM AUTHOR]

This paper analyses and compares statutory provisions on tutelage for minor children in the Venetian towns of Koper, Izola, and Piran, and compares them with the regulation of the town of Ptuj, which was part of the Holy Roman Empire. It draws on selected notations from the notary books of Piran and, indirectly, documentary sources from Ptuj that reflect the practice corroborating and illustrating findings concerning statutory law. Moreover, from a comparative perspective, the paper aims to establish how Roman law influenced the legal regulation of the care of minor children in the two neighbouring territories that differed in terms of tradition and administrative affiliation. [ABSTRACT FROM AUTHOR]

The present article analyses the reception of Mark Twain and his works in serial publications on the territory that now constitutes the Republic of Slovenia over a period of circa one hundred years, i.e. it compares Twain's status in the pre-socialist era (until 1945) and the socialist era (1945--1991). The article addresses the extent to which the reception was affected by ideology and the contemporary political situation, as well as by the relations between the United States and the country of which the Slovenian territory formed part during a particular period of time. [ABSTRACT FROM AUTHOR]

The article examines the reception of Giorgio Bassani's works in Slovenia. The current state of translations of Bassani's works into Slovene is characteristic of the availability of Slovene editions of Italian authors, which often seems desultory despite the relatively high number of literary translations from Italian published after World War II. In the past, the translations were typically published later than the original texts and without a global strategy. This situation partly persists to the present day: whilst the translations of some authors are sufficiently present, others continue to be absent, which is probably due to the limitations of the Slovene book market. As few as three of Bassani's texts have been translated into Slovene, namely the novel Il giardino dei Finzi-Contini (1978), translated by Stabej, excerpts from the short story Una lapide in via Mazzini (1994), translated by Ožbot, and a selection of poems from In rima e senza (2008), translated by Dekleva. Il giardino dei Finzi-Contini, the only text to have been translated in an unabridged version, was also the subject of linguistic research by Miklič and Premrl. Whilst no doubt interesting for specialists, the results of their research most likely did not reach a wider public. Even though the translation of Bassani's novel was followed by the release of the film adaptation, whilst the poetry collection received critical acclaim, Bassani remains a relatively little-known author in Slovenia to this day. Moreover, as many as thirteen years have passed since the publication of the last translation. [ABSTRACT FROM AUTHOR]

Cet essai adopte la perspective centrée sur les voyages, les échanges et la traduction pour étudier l'impact international de l'oeuvre d'Algirdas Julien Greimas. L'étude s'attache à mettre en évidence les facteurs clés qui ont affecté la diffusion des idées du linguiste et sémioticien à l'étranger. La plupart des recherches sur ses méthodes se concentrent à juste titre sur la France, où il a enseigné et développé son groupe de recherche, et sur les publications en français, langue initiale et la plus utilisée pour les travaux dans ce domaine. En revanche cette étude explore plutôt la propagation de ses innovations dans d'autres pays et langues. Des éléments d'histoire socioculturelle, de relations internationales et d'histoire intellectuelle esquissent le contexte dans lequel son projet s'est élaboré et s'est étendu à différents pays. Les relations entre la France et les autres pays pointent trois grandes catégories dans la réception que connaît le projet greimassien, pour chacune desquelles cette étude se concentre sur deux régions prises comme exemples. L'article examine d'abord les cultures qui manifestent les affinités les plus étroites avec la France à savoir celles romanes, en étudiant de plus près l'Italie et l'Amérique latine. La deuxième catégorie comprend des pays qui jouissent de convergences moindres mais toujours appréciables avec la société française. Il s'agit des zones de langues germaniques, pour lesquelles l'Amérique anglophone et les pays de langue allemande nous serviront d'exemples. Le dernier panneau du triptyque explore des pays qui entretiennent des relations plus lointaines avec la France, notamment durant la carrière de Greimas, en se focalisant sur la Russie-l'URSS et la Chine. La conclusion tente d'évaluer à quel point des facteurs tels que les structures institutionnelles et les contacts personnels, l'histoire et le contexte socioculturels et le statut pédagogique et sociolinguistique du français exercent effectivement un impact sur son accueil à l'étranger. L'analyse de la réception mondiale de l'oeuvre de Greimas permet de découvrir les facteurs qui conditionnent la propagation de la sémiotique dans le monde entier. [ABSTRACT FROM AUTHOR]

The article discusses the extent to which ideological factors affected Karl May's reception among Slovenians. The analysis encompassed writings about May in Slovenian serial publications from the beginning of the 20th century until the present. The results showed that May's reception during a particular historical period was influenced by both the ideological orientation of the serial publication in which the writer was discussed, which is especially characteristic of the Habsburg era, and the contemporary socio-political situation in the country of which the Slovenian territory formed part at a par ticular time, which is most true for the socialist era. [ABSTRACT FROM AUTHOR]

This paper shows how much a change in political life can change the position of a writer in the eyes of literary criticism. As one example of such a phenomenon in literary life, this paper analyzes the collections of Milan Kašanin’s stories and the literary criticism written about them by Božidar Kovačević – before and after the Second World War and the Communist Revolution. The text suggests a potential political influence on the passing of value judgments on Milan Kašanin’s stories that the writer tried to publish shortly after the Second World War. [ABSTRACT FROM AUTHOR]

A fairy tale, as the most popular oral literary form in children's literature, accompanies a child on the path of his or her growing up and maturation, it is also one way to give the child a first touch with literature. Closer to the child with its structure and outlook on life, the fairy tale enables the child to get to know the world and the people around them and their relationships. The fairy tale develops the imagination, reconstructs the existing knowledge, builds social relations and helps the child in solving certain problem situations. The paper seeks to present different theoretical definitions and approaches to fairy tales with a particular focus on psychoanalytic theory and theoretical considerations on the ways and possibilities of the reception effects of fairy tales. [ABSTRACT FROM AUTHOR]

In the Bohemian Lands, Ivan Zajc's works were always enjoyed by the broader public, while critics' opinion have varied, according to the general social and political situation of their times. At the turn of the 19th and 20th centuries, Zajc's music, his U boj! chorus from Nikola Šubič Zrinjski especially, was published and performed by the music societies in the large towns, as well as across the country - long before the entire opera was first performed in Prague, not at the National Theatre, but at the Vinohrady Town Theatre, in 1913. The National Theatre never performed any work by Zajc; his Mannschaft an Bord, Lazzarone de Naples, Nach Mekka, Der Raub der Sabinerinnen, Die Somnambule, Die Hexe von Boissy and Mislav, were staged by the National Theatre's predecessor, the Provisional Theatre (opened in 1862, and incorporated into the National Theatre's building in 1883). In 1873 the Provisional Theatre also announced a performance of Zajc's Amelia ossia il bandito; it seems, however, that this idea, as well as the idea of staging of Nikola Šubič Zrinjsky, initiated in the 1870s by the conductor Adolf Čech, never moved past their initial stages. The same may have applied to the alleged performance preparations for Nikola Šubić Zrinjsky in Pilsen, West Bohemia, mentioned in 1896 in the Prague daily Národní listy and the music journal Dalibor. During the late 19th century, Pilsen's Czech theatre only staged Mannschaft an Bord and Die Hexe von Boissy, also performed in Brno, along with Der Raub der Sabinerinnen; both works were staged at the Divadlo na Veveří (Veveří Street Theatre), which was of the same importance for the Czech Brno population as the Provisional Theatre was to Praguites. Nikola Šubić Zrinjski was presented there in 1918. The Czech press quoted not only Zajc's works and their performances, but also the composer's visits to Prague, where he looked for a prima donna for the Zagreb opera company (Františka Bártová), in 1872. The reviews were highly appreciative as well as critical: it was felt that the composer, however experienced and offering to the listener rather interesting South Slavonic melodies and rhythms, was not exploiting their potential enough, and was inclined to borrowing, especially from Meyerbeer. Between the two wars, Nikola Šubić Zrinjski was staged in Czechoslovakia three times: in Olomouc, Prague and Pilsen; after the World War II it was performed in Olomouc, and Brno, on the occasion of the guest appearance of the Croatian National Theatre in the Janáček Theatre in 1984. The 20th century reviews were writt en in the same vein as the 19th century articles. Yet, their authors were more ready to praise the revolutionary and patriotic qualities of Zajc's compositional output, and to appreciate his importance of a representative of culture of the new republic's Slavonic ally, the Kingdom of Serbs, Croats and Slovenes, and later Yougoslavia. The proof of the fact is the highly positive 1984 review, writt en by Jarmila Brožovská. Figuratively speaking, in this way, Ivan Zajc's work finally achieved its proper position in the Czech music history. [ABSTRACT FROM AUTHOR]

Les Principes d'UNIDROIT (Abr. UPICC) comme un concept unique de la lex mercatoria représentent matériel académique de l'harmonisation et l'unification du droit dans de nombreux pays. Leur application est plus large et principalement liée à la zone d'accords commerciaux internationaux que le monde des affaires est un défi et une vision pour résoudre les problèmes dans les relations commerciales transfrontalières. Institut de non performance du contrat du chapitre 7 UPICC est noté comme un ensemble très clair et concis des règles pour générer un nouveau concept d'inexécution essentielle du contrat. Ce concept a été enregistrée dans d'autres instruments, à quelques exceptions près. En cherchent des moyens la possibilité de mise en oeuvre du chapitre 7 de UPICC dans notre système juridique, en tirer de grands bénéfices mais de créer et de difficultés. Rend évidemment clair que le temps des règlements rigides passé et qu'il ya une tendance générale à la rationalisation de la réglementation. Règles rigides freinent vues libérales sur les flux commerciaux nationaux et transnationaux. La tendance de créer des règles simples et compréhensible qui tentent de réduire les coûts des interprétations juridiques de la réglementation internationale et de stimuler les hypothèses de coopération commerciales transfrontalières qui vont vers plausibilité. Règlement extrajudiciaire des différends (arbitrage) serait accordée à l'importance et donc à accélérer la résolution des différends. Toutefois, des problèmes avec la mise en oeuvre se manifeste principalement dans l'absence de réglementation constitutionnelle. Cette idée implique, après tout, l'ensemble des modifications apportées au système comme une nouvelle approche de système au cas de plus près. Les lois sont courtes, cas sont une source notable de loi, tandis que le rôle du juge affirme à niveau qui se substitue à la loi. Un modèle pourrait ressembler principalement dans certains pays qui ont adopté la même voie et qui est maintenant connu comme étant les pays qui réussissent, comme l'Estonie. Solutions iraient vers la création d'un code unique sur les contrats contractuels, commerciaux et de consommation. Cela signifierait également l'évolution structurelle des instituts relatives à la non-exécution du contrat parce que toutes les dispositions réunissant en un seul endroit, alors que certains et à éliminer. Une analyse plus détaillée montre que UPICC présentent certains inconvénients en termes de champ d'application. Parmi les principes et leurs similitudes, cependant, apparaît comme l'instrument le plus compact DCFR avec un cadre normatif. [ABSTRACT FROM AUTHOR]

The article focuses on the spread and functions of cult images according to descriptions of canonical visitations to the Catholic and Uniate Churches in the 17-18th c. It analyses the representation of cult images and also the descriptions of their surroundings that highlighted cult status of paintings. Comparing sources from different time periods and confessions, the relations between different cultures and confessions prevalent in the Grand Duchy of Lithuania (hereinafter referred to as GDL) become evident. Moreover, the purpose of images, their valuation and the mechanics of control come to light. The links between the origin of images and their cult status are researched. The visitations fleetingly reveal the occurrences of image import. In the first half of the 17th c. the import of Moscow icons was an ongoing process in the GDL. The images of Italian origin are rarely recorded. There is a certain link between ancient origin of icon and its cult status in the visitations of the Uniate Church, but the link between import and cult status is rarely mentioned. Some cases in respect to images from Moscow or Italy are recorded. However, the origin of most of the respected images is not mentioned, although it is most likely to be local. The descriptions of the visitations reveal the spread of famous cult image copies and pinpoint the most respected images. The most popular copies were of the Częstochowa Virgin Mary image. Some of them were housed in the Uniate Churches in Podlasie and are described in the article. Just like in the rest of Europe, in the GDL the images of the Blessed Virgin Mary of Loreto and Santa Maria Maggiore were popular as were the local cult images of the GDL as well. Visitations point to the geographic spread of miraculous images and allow the creation of detailed maps of cult images and their copies. The sources analysed recount the dynamics and scope of image cult in the 17-18th c. in the GDL. [ABSTRACT FROM AUTHOR]

Discussion is devoted to the role of Vítězslav Novák in the frame of Czech music around 1900. Vítězslav Novák (1870-1949) is one of the composers where the characteristic contrasts can be found in many respects that can be described with functions central-marginal, global-local, heterogeneous-homogeneous. But indicated categories are no naturally given constants. They also do not represent categories that had been prescribed by Novák himself but that spring from the discourse on Novák at least in Czech environment. [ABSTRACT FROM AUTHOR]

This paper focuses on the principle of subsidiarity, which is one of the key principles in the European Union law and which along with other principles essential for democratic political systems, such as the principles of federalism, regionalism, local self-government, proportionality, legal certainty etc., is recognised in the EU law as an effective method (and criteria) of State governance as this principle is the basis for separation and allocation of powers at different levels of governance. This allows bringing decision making closer to citizens, promotes democratic processes in the country, increases the openness of the public sector to the needs of the society, and contributes to better protection and implementation of human rights. The work presents the analysis of national legislation which imposes the principle of subsidiarity, discusses the impact of the principle on the system of legal institutes, its use in the state governance and local self-government, analyses the practical problems of the application of this principle in the decentralisation and democratisation of state governance (distribution of powers to the governance entities). The principle of subsidiarity is used to defend the prerogatives of central governance and local community interests, and the result of its application is a rational consolidation of the management concept in the state organisation, when the allocation of institutional powers between different levels of governance is caused not by ambition of political governance but the effective exercise of powers conferred on the authorities in order to achieve that decisions are taken not only at the highest management level, but also that the local community is included in their making. It is important for Lithuania that during the application of the principle of subsidiarity in the management system, the level of decision-making is adequate to the scale and complexity of the arising problem, so that the assignment of functions is based on the need and ability to implement them in a specific level of state management, and that the state management functions are based not only on the political will but also on the financial resources necessary for the implementation of the functions. [ABSTRACT FROM AUTHOR]

This paper raises the question of the existence of Expressionist prose as a significant segment of the Slovenian literary movement between the two world wars. It points out at a fundamental ambivalence about its relationship to the typological-aesthetic concepts of modernism and avant-garde. The problem lies in the fact that Slovenian literary historians and critics between 1920-1930, as well as the contemporary ones (with some exceptions), were detained and refused to accept innovative position of this phenomenon. Therefore, expressionism was often understood simply as a radicalization of the poetic elements of Slovenian impressionism (1895-1916), and this view is particularly evident in the assessment of Lado Kralj (Expressionism, 1986). Due to the uncertain and indeterminate previous definitions of the expressionist prose, whose research in German literary criticism, especially from the nineties to the present, yielded significant results (W. Sokel, S. Vietta, G. Kemper, B. Scheffer, W. Krull, A. P Dierick, I. Jens, T. Anz, M. Stark, W. Fähnders), there is a need for a new, more flexible pattern of the expressionist prose text. For the identification of this model the following aspects were taken into account: Poetical and conceptual aspects, Expressionist topoi, Morphologic and narrative aspects, Stylistic and linguistic aspects, following by Semantic Implications. Textual base of Slovenian short expressionist fiction includes 11 collections, published between the two world wars, and more than 200 prose pieces in the leading Slovenian magazines and newspapers. Works of the individual authors were recently acclaimed in publishing monographs, mainly posthumously (S. Majcen, M. Jarc, J. Kozak, S. Kosovel, S. Grum, E. Kocbek). In the interpretation of a characteristic prose samples (Podbevšek, Kosovel, Grum, Pregelj, Kocbek) one can notice the type of discourse and style-rhetorical moves that shape the Slovenian short fiction (prose poem, sketch, short story and novella). Similar to German expressionism, in the Slovenian literary movement the short prose genres play fundamental role in the process of a structural modernisation. [ABSTRACT FROM AUTHOR]

According to data from secondary sources, Mozart's operas Don Giovanni and Die Zauberflöte were staged with considerable success in Zagreb during the 1830s, but the only Zagreb newspaper Agramer politische Zeitung devoted very little space to musical-scenic works performances at that time. It was not until the 1870s that most of Zagreb newspapers gave announcements and reviews on performances of Mozart's operas; Don Giovanni was staged in 1875 and in 1898 and Die Zaubeflöte in 1899. So these two Mozart's operas were the only ones that had been systematically staged in Zagreb in all three theatres (in so-called Amad. Theater, Stanković Theatre and in today's theatre building) in the German and/or the Croatian language during the 19th century. The characteristics of performances and casts are given in this paper and, on the basis of the newspaper reviews, changes in the journalists' and the audience's reactions in the reception of those works are monitored. [ABSTRACT FROM AUTHOR]

Today, aesthetics is much more opened to cooperation with other sciences than before. That is why, in this work, the author does not ask whether sociological aesthetics is possible, but how. Firstly, he discovers the historical roots of this problem and points to the fact that W. Hausenstein set the basis for the foundation of "sociological aesthetics" in the 19th century. However, a more significant relationship between aesthetic ideas and the prevailing view of the world (the spirit of time, the vision of the world) was not established until the first half of the following, 20th century. In that context the author pays special attention to the ideological and contextual aesthetics of T. Adorno, H. R. Jauss' aesthetics of reception and R. Bastide's social conception of art, explicitly named as "sociological aesthetics". The phenomenon of art is being treated here from a scientific standpoint - a sociological one, affirming what is most important in this domain, which is - the particularity of the aesthetic. The author speaks in favour of the modern conception of sociological aesthetics, which he identifies in contemporary creative movements and tendencies, such as postmodernism and conceptual art, happening, performance, video-art, graphic and industrial design. [ABSTRACT FROM AUTHOR]