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Prikaz Zbornika radova Collecting and Collections in Times of War or Political and Social Change urednika Jože Hudalesa i Tanje Roženbergar objavljen u nakladi Filozofskog fakulteta Sveučilišta u Ljubljani 2017. godine.

Traditionally, museums have often been considered the temples of culture, places where objects and collections stored are of great importance for a particular community, society or people and even the whole of humanity. Museum institutions have been trying to distance themselves from this image for decades, moving the focus from the objects to the visitors. This transformation occurred as the awareness of the social role of museums began to change, by which museums are no longer the absolute authority and their task not merely that of the “divine” study of museum “dogmas”, but rather they acquire a participatory role, making each individual a creator of meaning and values. This transition is perceived as a positive step in the development of museological thought and activity, but one that is also often criticized because it puts the position of museums and their experts and scientists in particular fields in a precarious position. Should museums allow their authority, considered to be based on scientific principles, to be questioned by visitors, that is, laypeople? In that regard, the position of museums can be viewed through the prism of the church and its respective position in society.

Potreba komemoriranja ili održavanja sjećanja na pojedince koje zajednica posebno označuje i smatra važnima i vrijednima javila se godinu dana prije 10-godišnjice smrti, ali i 80-godišnjice rođenja prof. dr. sc. Ive Maroevića (1937. – 2007.). Kako smo bili i ostali skloniji ne pasivnom slavljenju, nego proaktivnom okupljanju koje će donijeti ne samo održavanje sjećanja nego i korist našoj muzejskoj zajednici, opredijelili smo se za organiziranje malog skupa koji je u jesen 2017. godine nastojao problematizirati jednu od profesoru najbližih tema iz područja muzeografi je – temu muzejske čuvaonice ili depoa.

Marija Jurić Zagorka (1873–1957) is a well- known Croatian writer and journalist who has become a part of national cultural memory through her work and life, always fighting against social injustice and discrimination and for women's rights. She is also known as the first woman in Croatian journalism at a time when women were not allowed to write for newspapers. She spent the last two decades of her life in her apartment at Dolac 8 in downtown Zagreb and left behind rich cultural and literary heritage. In the same apartment in 2009, the Marija Jurić Zagorka's Memorial Collection was opened for public. The City Administration handed over the management over the collection to the Centre for Women's Studies, a civic association founded in 1995 with the aim of providing education in the area of ​​women's studies, raising women's awareness and encouraging research and publishing related to women and feminist topics. A library with over 3500 books and magazines was established in the Centre from the field of women, gender studies and feminist theory. Since its inception, the Centre has implemented a one- year education program in the area of ​​feminism, gender theory and related areas in a unique combination of historical knowledge, theory and practice, with the aim of developing critical thinking of gender issues. The aim of this paper is to make an extensive case study that would show how the former private space of the apartment of Marija Jurić Zagorka was transformed into a public space of learning, creation and sharing of knowledge. The research would include a historical (place history), theoretical (place as a powerful bearer of cultural capital and aura of knowledge) and a practical (place of co- existence of the Centre for Women's Studies and the Memorial Collection of Marija Jurić Zagorka) aspect of the space and attempt to show how a place of personal suffering of an elderly person became a place of freedom and creation under unfavorable social circumstances.

Interpretacijske strategije stalnih postava umjetničkih muzeja. Četiri studije slučaja na izabranim muzejskim ustanovama u gradu Zagrebu.

Sažetak na izvornom jeziku rada

Oblici knjižne baštine i njihovo prezentiranje na izložbama

This paper is based on the results of a diachronic exploration of the attitudes towards museum visitors in Croatia. The introduction brings the interpretation of insufficient interest of museum visitors within the museological research area of Ivo Maroevi!. The reason for that is that museology has a long standing history of relying on information science in Croatia, and the fact that the use of the museological approach that originated in the Eastern European countries and the global informatisation process and structuralism as a theoretical framework within which museology was formed. Visitors were covertly introduced into the theoretical arena in 1999 as interpreters in a schematic presentation of semiosis of museum objects in the act of collecting1 . On the other hand, numerous examples can assert that museum practice acknowledged visitors long before that and in a much open way, even in the socialist period that lasted from 1945 to 1991. Museums' interest in empowering visitors was put on hold during the Croatian War for Independence due to the imperilled existence of heritage. However, it was reaffirmed in the first decade of the 21st century when it enjoyed a boom. We have interpreted it in light of the new social order which is based on making profit and achieving growth.

Istraživanje korisnika baštine: međunarodno dijeljenje iskustva i mogućnosti primjene u nas

Since the first appearance of Web 2.0 in 1999 we have witnessed constant increase in the number of users of its services, especially the society networks and blogs. This trend has eventually encouraged the museums as well to study their possibilities and to start implementing them actively, which is borne out vividly by numerous examples from the world museums. In this paper the most representative ones will be analyzed, i.e. those which make it possible to determine the diverse purpose of using the society networks and blogs – from the promotion of the museums themselves and the cultural heritage they take care of and attracting of real visitors to communicating with virtual users as members of the community within which the museums are active. The latter usage fits into the new mission of the museums and their perception as potential promoters of social changes and active participants in various social processes. The second part of the paper will provide comparative analysis of the examples from Croatia, giving recommendations to the national museum society itself regarding the ways in which actions should be undertaken in order to make maximum use of the mentioned Web 2.0 services.

Arhitektura jest važan dio kulturne baštine. Ona je direktno povezana s razvojem civilizacija i kultura i jedan je od njihovih prepoznatljivijih izraza. Često upravo kroz arhitektonsku baštinu percipiramo i prepoznajemo različite narode i kulture i njihove specifičnosti, a često je upravo ona jedini sačuvani dio koji svjedoči o nekom vremenu i narodu. U svijetu postoje brojni primjeri muzeja arhitekture i zbirki koje se bave arhitektonskim nasljeđem i svima je njima zajedničko sabiranje, istraživanje i prezentiranje arhitektonske građe i baštine. Ipak, glavne produkte arhitektonskog djelovanja nije moguće zbog oblika i dimenzija prenijeti u muzej, a što takvim muzejima i zbirkama prezentaciju arhitektonske baštine čini posebnim izazovom. Ovim radom pokušati će se istražiti i analizirati s muzeološkog aspekta koji su to sve reprezentanti arhitekture u muzejskim zbirkama te koji su mogući načini prezentiranja arhitektonske baštine na muzejskoj izložbi.

Recenzija, prikaz "Vodiča kroz hrvatske muzeje i zbirke: 2011." urednica Višnje Zgaga i Markite Franulić.

Sažetak

Sažetak

Istraživanje posjetitelja muzeja metodom fokus grupe. Izlaganje održano na radionici AKM 13. Rovinj, 25-27.11.2009.

Sažetak

Međunarodna radionica za upravljanje rizicima u muzejima, MEP-TIEM-SEE

Kulturna baština je u današnjem društvu zauzela veliku ulogu u otkrivanju, promociji i osnaživanju identiteta zajednice. Ona je prvenstveno prisutna zbog čovjeka i samo joj on može pridodati značenje, a koje se potom komunicira i interpretira prema drugim zajednicama i ostatku svijeta. No, kada predmeti baštine nisu više dio podeblja i zajednice iz koje su proizašli, već budu izmješteni u druge kontekste i zajednice, nastaje pomutnja oko identiteta i autentičnosti baštine. Jedan takav primjer je i Pergamski muzej u Berlinu u kojemu se primarno nalaze predmeti Jugozapadne Azije poput vrijednih Ištarinih dveri iz drevnoga Babilona. Donesene su u Berlin, uz mnoge druge vrijedne predmete kulturne baštine, iskapanjem njemačkih istraživača krajem 19. stoljeća i od 30-tih godina čine dio stalnog postava Pergamskog muzeja. Ovakav postupak oduzimanja nečije kulturne baštine dovodi do gubitka nacionalnih vrijednosti i sjećanja na prošlost. Tim povodom države poput Iraka i Turske traže povrat svojega nacionalnoga blaga. Muzeji kao baštinske ustanove u srži su procesa povratka i imaju veliku ulogu koja će biti istražena u ovome radu. In today's society, cultural heritage has played a major role in discovering, promoting and strengthening the identity of a community. It is primarily present because of people and only they can add meaning to it, which is then communicated and interpreted towards other communities and the rest of the world. However, when heritage objects are no longer part of the community and community from which they originated, but are moved to other contexts and communities, confusion arises regarding the identity and authenticity of the heritage. One such example is the Pergamon Museum in Berlin, which primarily houses objects from Southwest Asia, such as the valuable Ishtar Gate from ancient Babylon. They were brought to Berlin, along with many other valuable items of cultural heritage by excavations by German researchers at the end of the 19th century, and since the 1930s they have been part of the permanent exhibition of the Pergamon Museum. This procedure of confiscating one's cultural heritage leads to the loss of national values and memories of the past. On this occasion, countries such as Iraq and Turkey demand the return of their national treasures. Museums as heritage institutions are at the core of the return process and have a major role that will be explored in this paper.

Francuska revolucija 1789. godine označila je kraj monarhije u Francuskoj te razračunavanje s prošlošću. Ona predstavlja prekretnicu u društvenom, kulturnom i političkom životu Francuske, a koja je imala dalekosežan utjecaj na cjelokupni europski kontinent. U radu je definirano kako je Francuska revolucija utjecala na kulturnu baštinu i njeno shvaćanje općenito. Baština, koja je do tada bila u rukama svećenstva i plemstva, odnosno dio privatnih zbirki, nakon 1789. godine postaje dostupna svima. Naime, nakon Francuske revolucije sve se smatralo vlasništvom naroda pa tako i cjelokupna baština. Doneseni su propisi o zaštiti baštine, a spomenici povijesti, znanosti i umjetnosti prepoznati su kao dio kulturne baštine naroda. Sastavljani su popisi umjetnina i građevina korisnih za obrazovanje naroda, a država je imala dužnosti brinuti se o njima. Sukladno tomu, dolazi i do osnivanja muzeja pa je u tom razdoblju nastao i Louvre, jedan od najpoznatijih svjetskih muzeja. Osnovan je i Muzej francuskih spomenika u Parizu koji je prije služio kao depo predmeta iz crkava i samostana koji su bili porušeni tijekom same revolucije. The French revolution of 1789 marked the end of the monarchy in France and the reckoning with the past. It represents a turning point in the social, cultural and political life of France, which has has a far-reaching impact on the entire European continent. The paper defines how the French Revolution influenced cultural heritage and its understanding in general. The heritage, which until then was in the hands of the clergy and nobility, that is, part of the private collections, after 1789 becomes available to everyone. After the French Revolution, everything was considered the property of the people, including the entire heritage. Regulations of the protection of heritage were adopted, and monuments of history, science and art were recognized as part of the cultural heritage of the people. Lists of the works of art and buildings useful for the education of the people were compiled, and the state had the duty to take care of them. Accordingly, a museums were founded, and during this period the Louvre, one of the world's most famous museums, was created. The Museum of French Monuments was also established in Paris, which previously served as a depot for objects from churches and monasteries that had been demolished during the Revolution itself.

Cilj rada je prikazati mogućnosti koje nude vojni objekti arhivskoj i muzejskoj djelatnosti. Kao primjeri van Hrvatske prikazani su njemački arhiv u Ludwigsburgu te švicarski centar zbirki u Affolternu na Albisu, dok su za iskoristivost vojnih objekata u Hrvatskoj predstavljeni zadarski arhiv, gradski muzej Pazina i kao primjer suživota u istom vojnom objektu splitski arhiv i Hrvatski pomorski muzej Split. Za svaki arhiv i muzej te njihove sadašnje zgrade dan je kratki povijesni pregled i predstavljena je uloga odnosno djelovanje navedenih arhiva i muzeja danas. Na kraju rada opisane su pozitivne i negativne strane pristupa u korištenju vojnih objekata kao zgrada arhiva i muzeja. The aim of this paper is to present the possibilities offered by military facilities for archival and museum activities. Examples outside Croatia are the German archives in Ludwigsburg and the Swiss collection center in Affoltern am Albis, while for the Croatian side are presented the Zadar archives, the Pazin City Museum and as the example of coexistence in the same military facility are presented the Split Archive and the Croatian Maritime Museum in Split. For each archive and museum and their current buildings, a brief historical overview is given and the role or activities of these archives and museums today are presented. At the end of the paper, the positive and negative sides of the approach in the use of military facilities as archive and museum buildings are described.

Ovaj se diplomski rad temelji na književnom radu, ali i društvenom doprinosu pet javnosti dobro poznatih, ali i manje poznatih, hrvatskih autorica iz 19. i prve polovice 20. stoljeća. Riječ je o Ani Vidović, Dragojli Jarnević, Jagodi Brlić, Ivani Brlić Mažuranić te Mariji Jurić Zagorki. Njihovo se mjesto i vrijeme djelovanja razlikuje, ali ono što ih sve spaja jest nacionalni ponos i ljubav prema svome jeziku što će u svojim djelima (žanrovski raznolikim) jasno i pokazati. Svaka na svoj način vodi borbe s vlastitim traumama i rodnim ograničenjima, ali njima unatoč uspijevaju ostaviti veliki trag na društveno-političkoj i književnoj sceni. Preko koncepta muzejske izložbe prikazat će se njihova bogata kulturna i književna baština. Njihovom se muzealizacijom na zanimljiv način publici može približiti hrvatsko žensko autorstvo te ju senzibilizirati na ograničenja i potencijale tzv. ženske književne kulture u okvirima nacionalne i globalne kulture. This graduation thesis is based on the literary work, but also the social contribution of five well-known, as well as lesser-known, Croatian female authors from the 19th and first half of the 20th century. They are Ana Vidović, Dragojla Jarnević, Jagoda Brlić, Ivana Brlić Mažuranić and Marija Jurić Zagorka. Their place and time of action differ, but what unites them all is national pride and love for their language, which they will clearly show in their works (of various genres). Each of them fights with their own traumas and gender restrictions in their own way, but despite them, they manage to leave a big mark on the socio-political and literary scene. Through the museum exhibition concept, their rich cultural and literary heritage will be presented. Through their museumization, the audience can get closer to Croatian women's writing in an interesting way and sensitize them to the limitations and potential of the so-called women's literary culture within the framework of national and global culture.

Jest da se u određenim muzejima poput Prirodoslovnih muzeja širom svijeta već stoljećima može vidjeti bioraznolikost i raskoš prepariranih životinja. Neki muzeji su se odlučili otići u novom smjeru, te su svoja vrata i prostore otvorili živućim životinjama koje će posjetiteljima priuštiti dodatno iskustvo u razgledavanju izložaba ili će muzejskom osoblju biti od pomoći. Uz izlaganje živućih životinja u svojim privremenim ili stalnim postavima muzeja, neki od muzeja i srodnih institucija su se pak odlučili iskoristiti sposobnosti životinja u očuvanju muzejskih izložaka, te su njihovi posebni „zaposlenici“ tako postali dio muzejskog osoblja i služe kao dodatan oblik očuvanja i konzervacije predmeta. Sve navedeno kao i potkrijepljeno primjerima pobliže je analizirano u ovom radu. Ovaj diplomski rad napisan je s ciljem povećavanja svijesti o životinjama koji su dio našeg ekosustava, te njihovoj dobrobiti za ljude u raznim aspektima. Posebna pažnja je posvećena živućim životinjama koje u muzeju stalno obitavaju, kao i povremenim posjetima kućnih ljubimaca, kojima je donedavno pristup bio u potpunosti zabranjen. Potrebe posjetitelja se s vremenom mijenjaju, a muzej je taj koji treba osluškivati njihove potrebe, te u skladu s time prigrliti nove pristupe. Ponajviše radi ljudi čija se svijest lagano mijenja, te sve više teže povezivanju s prirodom, ali i digitalizacije i moderne tehnologije zbog kojih posjet muzeju ponekad nije niti potreban. Given that in certain museums, such as Natural history museums around the world, biodiversity and stuffed animals can be seen for centuries, some museums decided to go in a new and different direction and have opened their doors and spaces to living animals. Temporary or permanently residing in the museum, they offer visitors a different experience in viewing exhibitions or are helpful to the museum staff. In addition to displaying live animals in their temporary or permanent museum settings, some museums and related institutions have decided to use the abilities of animals in the preservation of museum exhibits. In contrast their special "employees" have become part of the museum staff, thus they serve as an additional form of preservation and conservation of museum objects. Everything mentioned, as well as supported by examples, is analyzed in more detail in this paper. This graduation thesis was written to increase awareness of animals that are part of our ecosystem and their welfare for people in various aspects. Special attention is given to living animals that live in the museum daily or are temporarily shown as part of an exhibition. As well as to temporary visits by pets, which until recently, access was utterly prohibited. The needs of visitors change over time, so the museum is the one that should listen to their needs and accordingly embrace new approaches; due to digitization and more modern technology, a visit to the museum is sometimes not even necessary, but also because of a change in the consciousness of people who strive to connect with nature.

Antičke zbirke spomenika arheoloških muzeja u Hrvatskoj velikim dijelom su izložene i prezentirane zahvaljujući istraživanjima provedenim u 20.st. Pronađeni artefakti karakteriziraju period antike u Hrvatskoj te čine šaroliku paletu važnog kulturološkog, antropološkog i arheološkog značaja. Kroz različite medijske sadržaje moguće je ponuditi sistematizaciju dosadašnjeg muzeološkog rada kao i usporediti muzeološku granu djelatnosti u državama poput Savezne Republike Njemačke i Francuske Republike s trenutnim stanjem u Republici Hrvatskoj. Sam način dolaska do nalaza je vrlo kompleksan i dugotrajan, a muzejima kao kulturnim institucijama, u cilju je predstaviti važnost i značaj nalaza kako bismo što bolje upoznali povijest naših krajeva. U muzejima, kao i nekim drugim kulturnim institucijama, 21. stoljeće predstavlja poseban izazov na području zaštite i konzervacije. Manjak resursa nerijetko dovodi do otežanog posla kustosima i muzeolozima, no stručnjaci ipak rade na poboljšanju uvjeta kako bi omogućili predstavljanje nalaza u što boljem svjetlu. Arheološki muzeji u Zagrebu, Splitu, Zadru i Vidu skrbe o jako vrijednim zbirkama spomenika iz ranog rimskog perioda. Komunikacija je u muzeologiji od izrazite važnosti zato se mora raditi na razvoju što učinkovitijih načina predstavljanja zbirki kako bi one, kao i poruka koju nose, došle do šire javnosti i zainteresirale publiku. Digitalni alati iziskuju veća ulaganja, to predstavlja određenu vrstu problema u arheološkim muzejima. Postoji više projekata koji se bave upravo ovom temom, njihov cilj je omogućiti pretraživanje zbirke na multimedijski način. Sve to ne smije zaobići Hrvatsku jer ona obiluje kulturnom baštinom koja treba biti adekvatno predstavljena u skladu s novim tehnologijama (hologrami, AR, zasloni na dodir, QR kodovi, VR naočale). Kreativnost je ključ u svakoj grani znanosti i umjetnosti, a to se odnosi napose i na područje kulture. Potrebno je razmišljati racionalno, u skladu sa sredstvima, no isto tako biti otvorena uma kako bi i najmanja ideja potaknula raspravu koja bi mogla pokrenuti napredak u interpretaciji nalaza. Interaktivan sadržaj je postao ključ za privlačenje posjetitelja u muzeje, takav način predstavljanja zbirki jamči povećanje publike. Ancient collections of monuments of archaeological museums in Croatia are largely exhibited and presented thanks to the research conducted in the 20th century. The artifacts found characterize the period of antiquity in Croatia and form a colorful palette of important cultural, anthropological and archaeological significance. Through various media content, it is possible to offer a systematization of museological work so far, as well as to compare the museological branch of activity in countries such as the Federal Republic of Germany and the French Republic with the current situation in the Republic of Croatia. The way to get to the finds is very complex and time-consuming, and the aim of the museums as cultural institutions is to present the importance and significance of the finds so that we can get to know the history of our regions as well as possible. In museums, as in some other cultural institutions, the 21st century presents a special challenge in the field of protection and conservation. The lack of resources often leads to difficult work for curators and museologists, but experts are still working to improve conditions in order to enable the presentation of finds in the best possible light. Archaeological museums in Zagreb, Split, Zadar and Vid look after very valuable collections of monuments from the early Roman period. Communication is extremely important in museology, so work must be done on the development of the most effective ways of presenting collections so that they, as well as the message they carry, reach the wider public and interest the audience. Digital tools require more investment, so this presents a certain kind of problem in archaeological museums. There are several projects that deal with this very topic, and their goal is to enable the search of the collection in a multimedia way. All this should not bypass Croatia because it is rich in cultural heritage that should be adequately presented in accordance with new technologies (holograms, AR, touch screens, QR codes, VR glasses). Creativity is the key in every branch of science and art, and this applies especially to the field of culture. It is necessary to think rationally, in accordance with the means, but also to be open-minded so that even the smallest idea can stimulate a discussion that could initiate progress in the interpretation of the findings. Interactive content has become the key to attracting visitors to museums, and this way of presenting collections guarantees an increase in audiences.

Ovaj rad se bavi temom tradicijskog tekstila – narodnih nošnji koji su u redovitoj upotrebi u folklornim amaterskim društvima te o mogućim načinima njegove zaštite i očuvanja s obzirom na uvjete u kojima taj tekstil postoji. Nakon teorijskog prikaza tekstilnih materijala i tehnika izrade materijala, prvenstveno tradicijskog, prikazala se i raznovrsnost tradicijskog tekstila u Hrvatskoj po regijama: panonskoj, dinarskoj i primorskoj. U radu je također teorijski obrađena i zaštita tekstila, preventivna, kurativna te vođenje dokumentacije. Provedeno je i istraživanje, putem upitnika s pitanjima otvorenog tipa, koje je obuhvatilo kulturno-umjetnička društva koji djeluju u Zajednici kulturno-umjetničkih udruga Grada Velike Gorice, koje je dalo uvid u njihove svojevrsne zbirke tradicijskog tekstila te načina na koji ga koriste i s kojim problemima vezanim uz zaštitu se susreću. Također, gotovo svi ispitanici su izrazili zainteresiranost za priručnik i edukacije koje bi im pomogle u redovnoj upotrebi originalnih narodnih nošnji. U radu su prikazani i praktični prijedlozi za zaštitu i očuvanje tradicijskog tekstila prema kojem bi se u budućnosti mogao izraditi priručnik. This paper deals with the topic of traditional textiles - folk costumes that are in regular use in folklore amateur societies, and about possible ways of its protection and preservation considering the conditions in which these textiles exist. After a theoretical presentation of textile materials and techniques of making materials, primarily traditional, the variety of traditional textiles in Croatia was presented by region: Pannonia, Dinaric and Littoral. The paper also theoretically deals with textile protection, preventive, curative and documentation management. A survey was also carried out, through a questionnaire with open-ended questions, which included cultural and artistic associations operating in the Community of Cultural and Artistic Associations of the City of Velika Gorica, which gave an insight into their unique collections of traditional textiles and how they use them and with what problems related to protection are encountered. Also, almost all respondents expressed their interest in a manual and education that would help them in the regular use of original folk costumes. The paper also presents practical suggestions for the protection and preservation of traditional textiles, according to which a manual could be created in the future.

Cilj diplomskog rada je iz perspektive muzeološkog djelovanja kroz prezentacijska i komunikacijska pomagala potaknuti zaštitu i promicanje prava i vidljivosti LGBTIQ+ osoba i propitivanje roda kao binarne, nepromjenjive i biološki utvrđene kategorije te medicinskog i društvenog konstrukta. U radu je u prvom redu predstavljan koncept izložbe o transrodnim i transseksualnim osobama kao još uvijek neprepoznatim i ugroženim skupinama podložnim diskriminaciji i stereotipima. Transrodne osobe su one čiji medicinski i zakonski dodijeljen spol pri rođenju ne odgovora vlastitom rodnom identitetu, shvaćanju ili identificiranju, premda se sve trans osobe ne poistovjećuju na jednak način, a izražavaju svoje rodne identitete i kroz odijevanje, ponašanje ili uloge koje im odgovaraju, dok neke trans osobe ne prihvaćaju tradicionalno shvaćanje roda kao binarne klasifikacije (muški ili ženski) te se identificiraju osim kao transrodne i kao rodno varijantne, queer ili dr. Rad je strukturiran u nekoliko cjelina koje obuhvaćaju povijesni pregled LGBTIQ+ aktivizma na prostoru Republike Hrvatske, prikaz programa, izložbi, zbirki i muzejskih ustanova u Hrvatskoj, ali i inicijativa koje pokrivaju srodnu tematiku, odnosno bave se vidljivošću i predstavljanjem ovih skupina s naglaskom na transrodne i rodno varijantne osobe, uključujući i dostupnu literaturu. Također, objašnjena je i stručna terminologija koja se upotrebljava kada se govori o LGBTIQ+ skupinama te cjelokupni prikaz strukture i koncepta izložbe koja je u središtu rada. Spomenute su i inicijative provedene u inozemstvu od strane samih muzejskih profesionalaca, a čija je namjera olakšati i približiti rodne i seksualne identitete kako bi se samim djelatnicima, ali i posjetiteljima omogućila suradnja i međusobno razumijevanje. Participativnost se ostvaruje koncipiranjem izložbe oko predmeta koje su donirale transrodne osobe s njihovim pripadajućim iskazima o važnosti tih predmeta za njih same, shvaćanju vlastitog identiteta i sl., a što se postiže uspostavljanjem dijaloga s LGBT+ udrugama i inicijativama na području Hrvatske (Zagreba) te samom zajednicom kao ključnim izvorom. Izložba je ovdje postavljena kao ponajbolji oblik muzejske komunikacije jer dovođenjem originalnih predmeta i pridruživanjem izvornih svjedočanstava vezanih uz iste, omogućava uvid u jednu drugačiju stvarnost predstavljanjem tih osoba i događaja. Također, posjetiteljima pruža mogućnost da izravnim doticajem s predmetima i kroz edukacijsku ulogu interpretaciju stvaraju vlastita mišljenja o viđenom, stječu neke nove spoznaje o dosad eventualno nepoznatim temama, potiče ih se na razmišljanje i emocionalno sagledavanje povezujući se s dosadašnjim iskustvima, te im se prenosi određena poruka i nudi drugačija perspektiva. The purpose of this master thesis is to encourage protection and promotion of rights and visibility of the LGBTIQ+ people, through the perspective of museological activity using presentational and communication aids. This paper also serves to question the notion of gender as a binary, immutable and biologically established category, as well as a medical and social construct. In the thesis is firstly presented an exhibition concept which deals with transgender and transsexual people as a group which is still facing threat and a lack of recognition, and is subjected to discrimination and stereotypes. Transgender people are those whose sex, which they were assigned to at birth, and is determined by legal and medical definitions, does not match their own gender identity, although every trans person has their own sense of identifying. Moreover, they can express their gender identity through clothing, behaviour or roles they deem appropriate, whereas some trans people therefore refuse to accept gender as a binary classification (female or male) and choose to identify not only as transgender but also as gender non-conforming, queer etc. Paper is divided into several sections which encompass a historical overview of LGBTIQ+ activism on the territory of the Republic of Croatia, representation of shows, exhibitions, collections and museum institutions in Croatia, including various initiatives dealing with related issues, ie. they deal with visibility and presentation of these groups with an emphasis on transgender and gender non-conforming persons, which is also based on the available literature. Likewise, it explains the professional terminology used when discussing the LGBTIQ+ groups and the overall representation of the exhibition structure and concept which is the focus of the thesis. Some of the initiatives conducted by the museum professionals abroad are also mentioned, which serve to enable the employees and the visitors to better understand gender and sexual identities in order to accomplish a mutual understanding and cooperation. Participation is achieved by centering the exhibition around objects donated by transgender people which are accompanied by labels which explain the significance that the each object has for its owner, explaining for instance how they understand their gender identity and so on, and it is enabled by establishing a dialogue with the LGBT+ associations and programs based in Croatia (Zagreb) and the community itself as the main source. The exhibition appears here as one of the best forms of museum communication because it offers an insight into a different reality by representing these people and events, and also using original objects and joining them with authentic testimonies they are related to. Also, it gives visitors an opportunity to form their own opinion of what they have seen, based on the direct encounter with the objects and the educational role of the museum as an interpreter, enables them to come to a new cognition about previously potentially unknown subjects, encourages thinking and offers an emotional perspective following up on the previous experience, and all the while it delivers a specific message and offers a different point of view.

Iako definirane kao simbolički prikaz odabranih karakteristika nekog područja, geografske karte više su od samog vizualnog prikaza i informacija o geografskim obilježjima. One su važan dokaz o našoj prošlosti, o geografskim promjenama i povijesti nekog teritorija. Stoga je važnost očuvanja i zaštite istih neupitna. Iako se u digitalnom dobu mijenjaju načini prikaza i pristupa geografskim podacima, fizičko očuvanje geografskih karata iznimno je važno jer pridonosi očuvanju povijesti i kulture. Motivacija za pisanje rada na temu geografskih karata nastala je tijekom prakse na preddiplomskom studiju. Tijekom posjete arhivu velika pažnja pridodavala se gradivu poput slika, važnih ugovora, rukopisa itd. Geografske karte, iako vrlo važne, spomenute su samo pri prolasku pored velikog ladičara u kojem su zatvorene. Stoga je cilj ovoga rada pojasniti važnost geografskih karata i njihovu ulogu u našem razvoju te objasniti na koji način se geografske karte mogu očuvati i zaštiti kako bi generacijama iza nas mogle svjedočiti o promjenama kroz povijesna razdoblja. U uvodnom dijelu rada objasnit će se povijest geografskih karata te njihova važnost u sklopu arhivske građe kao cjeline. Nadalje, razradit će se aspekti fizičkog očuvanja geografskih karata kao što su idealna temperatura, vlaga, te načini preventivne zaštite od vanjskih utjecaja i slično. Također, objasnit će se postupak digitalizacije geografskih karata i njezina važnost za zaštitu originalnih primjeraka. U istraživačkom dijelu rada usporedit će se zbirke karata Hrvatskog državnog arhiva i Državnog arhiva u Zadru prema postavljenim kriterijima kao što su opseg zbirke, načini čuvanja i slično. Cilj istraživačkog dijela rada je dati uvid u stanje i načine očuvanja i zaštite geografskih karata u hrvatskim arhivima. Although defined as a symbolic representation of selected features of an area, geographical maps are more than just a visual representation of information about geographical features. They are important evidence of our past, of geographical changes and the history of a certain territory. Therefore, the importance of preserving and protecting them is unquestionable. Although the ways of displaying and accessing geographical data are changing in the digital age, the physical preservation of geographical maps is extremely important because it contributes to the preservation of history and culture. Motivation to write a paper on the topic of geographical maps arose during the internship at the undergraduate level. During the visit to the archive, great attention was paid to material such as photographs, important contracts, manuscripts, etc. Geographical maps, although very important, were mentioned only when passing by a large drawer in which they were closed. Therefore, the aim of this paper is to clarify the importance of geographical maps and their role in our development and to explain how geographical maps can be preserved and protected so that generations behind us can witness changes through historical periods. The introductory part of the paper will explain the history of geographical maps and their importance within the archives as a whole. Furthermore, aspects of physical preservation of geographical maps such as ideal temperature, humidity and methods of preventive protection against external influences, etc. will be elaborated. The process of digitization of geographical maps and its importance for protection of original copies will be explained. The research part of the paper will compare the collections of maps of the Croatian State Archives and the State Archives in Zadar according to set criteria such as the scope of the collection, methods of preservation, etc. The aim of the research part is to provide insight into state of the maps and ways they are preserved and protected in croatian archives.

Muzeji kao institucije koje su posvećene očuvanju kulturnih dobara i važnih predmeta iz prošlosti čovječanstva postoje već desetljećima. Međutim, tijekom većih povijesnih događaja, poput ratova ili kolonizacije, mnoge zbirke sastavljene su na temelju otuđenih ili sumnjivo pribavljenih predmeta baštine. Ovako neprimjereno nabavljeni predmeti su i dalje dijelovi postava muzeja diljem svijeta, što potiče pitanje etičnosti njihovog rada. Ovim završnim radom nastoji se analizirati neke konkretne primjere otuđene kulturne baštine i sporova vezanih za vlasništvo predmeta te se ističe pitanje važnosti njihovog povrata kulturama, skupinama ili pojedincima kojima pripadaju. Pomoću stručne literature i na temelju prijašnjih znanstvenih radova bliskih ovoj temi, obrazlaže se teorijski okvir i prakse sabiranja predmeta u muzejskim institucijama, a sagledava se i zakonodavni okvir koji se odnosi na uspostavu i oblikovanje muzejskih zbirki. Cilj istraživanja ove teme je skrenuti pažnju na ranije otuđene predmete u muzejskim postavima, a koji bi se trebali vratiti gdje pripadaju kako bi na odgovarajućem mjestu bili indikatori identiteta zajednice. The institution of museums, dedicated to securing cultural goods and important objects from history of humanity, has existed for decades. However, during major historical events, such as wars or colonization, many have constructed collections using seized or dubiously acquired cultural property. These inappropriately collected items are still parts of museum catalogues all over the world, which calls the ethics of their work into question. This research aims to analyze some examples of seized cultural heritage and disputes regarding the ownership of items, while highlighting the importance of their return to cultures, communities or individuals they belong to. Using available literature and scientific works related to this topic, this research presents the theoretical framework of museum work and practices used in the collection of museum objects, and covers the legal framework connected to the shaping of museum collections. The goal of studying this topic is to bring attention to previously seized objects in museum collections, ones which should be returned to their rightful cultures in order to function as identity indicators to their community.

Nematerijalna baština nerijetko postaje prijepornom. Takva baština dobiva naziv teška, ali i disonantna baština. Cilj ovoga rada je definirati pojmove nematerijalne kulturne baštine, teške baštine i disonantne baštine. U radu se kroz dva primjera iz hrvatske tradicijske kulture, bećarac i bikijadu, nastoji pokazati kako teška i disonantna baština nisu samo svjetske teme, već su uvelike primjenjive na domaćoj kulturnoj sceni. Bećarac, unatoč tome što se smatra dijelom kulture, nerijetko nalazi osude i kritike zbog neprimjerenih stihova koji se pjevaju tijekom izvedbi. Bikijada, kao izuzetak iz Zakona, smatra se tradicijskom kulturom, dok se drugi oblici borbi životinja zabranjuju. Građa korištena u radu je prikupljena iz do sada objavljene stručne literature te na internetskim portalima. Intangible heritage often becomes controversial. Such heritage is called difficult, but also dissonant heritage. The aim of this paper is to define the concepts of intangible cultural heritage, difficult heritage and dissonant heritage. Through two examples from Croatian traditional culture, bećarac and bikijada, the paper tries to show that difficult and dissonant heritage are not only global topics, but are largely applicable on the domestic cultural scene. Bećarac, despite being considered part of the culture, often finds condemnation and criticism due to inappropriate lyrics sung during performances. Bikijada, as an exception to the Law, is considered a traditional culture, while other forms of animal fighting are prohibited. The material used in the work was collected from professional literature published so far and on Internet portals.

Ovim se radom predstavlja i analizira Vukovarski vodotoranj kao dio teške baštine. Vodotoranj se danas smatra zaštićenim kulturnim dobrom Republike Hrvatske te memorijalnim spomenikom. Za početak, definira se teorija same baštine, njeno značenje i što ona obuhvaća. Iako je pojam baštine dobro poznat i razumljiv, često dolazi do problema njezinog definiranja s obzirom na njezin širok raspona značenja i definicija. U ovom slučaju, rad se bavi jednim specifičnim tipom baštine, tzv. teškom baštinom u koju se može uvrstiti i Vukovarski vodotoranj. Prema tome, rad će prvenstveno opisati samu tešku baštinu, koje su njene karakteristike te zašto se ona smatra osjetljivim područjem baštine. Nadalje, rad predstavlja povijest vodotornja, vrijeme i prilike u kojima je sagrađen te usporedbu njegove uloge nekada i danas. Ideja rada je sa već postojećim znanjem o teškoj baštini analizirati projekt „Vukovarski vodotoranj – simbol hrvatskog zajedništva“. Osim poznatih karakteristika teške baštine te strukture i sadržaja koje obnovljeni vodotoranj nudi, kroz ovu će se analizu pratiti i ključni koncepti teške izložbe koje su postavili J. Bonnell i Simon I. Roger u svom radu „‘Difficult’ exhibitions and intimate encounters“. Zaključno, cilj rada je ukazati na kompleksnost i osjetljivost teške baštine, ali i na važnost prihvaćanja njenog postojanja u svakom obliku kroz njen najznačajniji primjer na hrvatskom području. This paper presents and analyzes the Vukovar Water Tower as part of a difficult heritage. Today, the water tower is considered a protected cultural asset of the Republic of Croatia and a memorial monument. To begin with, the theory of heritage itself, its meaning and what it encompasses are defined. Although the term heritage is well known and understood, there is often a problem of defining it given its wide range of meanings and definitions. In this case, the paper deals with one specific type of heritage, the so-called difficult heritage in which the Vukovar water tower can be included. Therefore, the paper will primarily describe the difficult heritage itself, what its characteristics are and why it is considered a sensitive area of heritage. Furthermore, the paper presents the history of the water tower, the time and circumstances in which it was built and a comparison of its role then and today. The idea of the paper is to analyze the project "Vukovar Water Tower - symbol of Croatian unity" with the already existing knowledge about difficult heritage. In addition to the well-known characteristics of the difficult heritage and the structure and content that the restored water tower offers, this analysis will follow the key concepts of the difficult exhibition set by J. Bonnell and Simon I. Roger in their work “’Difficult’ exhibitions and intimate encounters”. In conclusion, the aim of this paper is to point out the complexity and sensitivity of difficult heritage, but also the importance of accepting its existence in any form through its most significant example in Croatia.

Važeći propisi i pravilnici u knjižničarstvu su: Zakon o knjižnicama i knjižničnoj djelatnosti, Zakon o zaštiti i očuvanju kulturnih dobara i Pravilnik o zaštiti knjižnične građe. U Pravilniku o zaštiti knjižnične građe navode se konkretnije mjere sigurnosti, npr. zgrade knjižnica moraju biti uređene i opremljene protuprovalnim sustavom i nadzornim sustavom, ulazi u zgradu moraju biti osvjetljeni i sl. Osobito je važan uredan vanjski i unutrašnji prostor zgrade jer to stvara prvi dojam o ustanovi i jasan je pokazatelj aktivne brige i nadzora toga prostora. Na izložbama potrebno je biti posebno oprezan jer se izlaže rijetka i vrijedna građa. Važne su preventivne mjere sigurnosti, poput sustava alarma, uputa ponašanja i sl. te edukacija osoblja, a zadnjih je godina RFID tehnologija posebno pridonijela pitanju sigurnosti u knjižnicama. Knjižnica Filozofskoga fakulteta u Zagrebu druga je najveća knjižnica u Republici Hrvatskoj i zbog toga su mjere sigurnosti osobito važne. Knjižnica provodi sve zakonski regulirane sigurnosne mjere, ima alarm, protupožarni sustav, videonadzor, redovito se zaključavaju prostorije, koristi RFID tehnologiju i sl. Applicable regulations and ordinances in librarianship are: Zakon o knjižnicama i knjižničnoj djelatnosti, Zakon o zaštiti i očuvanju kulturnih dobara and Pravilnik o zaštiti knjižnične građe. In Pravilnik o zaštiti knjižnične građe are the more specific security measures are specified, eg library buildings must be arranged and equipped with an anti-burglary system and/or surveillance system, entrances to the building must be illuminated, etc. A neat exterior and interior space are of special importance because it creates the first impression of the institution and is a clear indicator of active care and supervision of the space. It is necessary to be especially careful at exhibitions because rare and valuable material is being exhibited. Preventive security measures are important, such as alarm systems, behavioural instructions, etc., and staff training, and in recent years, RFID technology has made a significant contribution to the issue of security in libraries. The Library of the Faculty of Humanities and Social Sciences of University of Zagreb is the second largest library in the Republic of Croatia and that is why security measures are especially important. The Library implements all legally regulated security measures, has an alarm, fire protection system, video surveillance, locks the premises regularly, uses RFID technology, and the like.

Metode zaštite knjižnične građe mijenjaju se s razvojem tehnologije i znanstvenih spoznaja, no zaštita knjižnične građe je oduvijek bila integralni dio knjižničnoga poslovanja. Kako bi zaštita knjižnične građe bila adekvatna potrebno je pažljivo rukovanje građom i optimalni uvjeti čuvanja u skladu s potrebama fonda kako bi se maksimalno usporio proces prirodnog starenja. Ovaj je rad tematizirao standarde zaštite knjižnične građe te njenu provedbu u Nacionalnoj i sveučilišnoj knjižnici u Zagrebu. Rad je prikazao preventivne mjere zaštite odnosno idealne mikroklimatske uvjete čuvanja i drugih okolišnih čimbenika kao i kurativne mjere zaštite. Opisani su uzroci i vrste vanjskih i unutarnjih oštećenja, priroda same građe te je najprije definirano što se smatra knjižničnom građom. Okolišni čimbenici obuhvaćaju postizanje optimalnih uvjeta stalne temperature, relativne vlage, svjetlosti te zaštitu od plijesni, kukaca i štetočina. Rad je opisao kako i zašto svaki od navedenih čimbenika može negativno utjecati na stanje građe te kako adekvatna skrb i idealni uvjeti čuvanja mogu znatno produžiti njenu trajnost. Također, postojeći standardi usporedili su se s njihovom provedbom u Nacionalnoj i sveučilišnoj knjižnici u Zagrebu. The methods of preserving library materials are changing with the development of technology and scientific knowledge, but the perservation of library materials has always been an integral part of library business. In order for adequate preservation of library materials, careful material handling and optimal storage conditions in accordance with the needs of the fund are needed in order to slow down the process of natural aging as much as possible. This paper focuses on the standards of preservation of library materials and its implementation in the National and University Library in Zagreb. The paper presented preventive protection measures, ie ideal microclimatic storage conditions and other environmental factors, as well as curative protection measures. The causes and types of external and internal damage, the nature of the material itself are described, and it is first defined what is considered library material. Environmental factors include achieving optimal conditions of constant temperature, relative humidity, light and protection against mold, insects and pests. The paper describes how and why each of these factors can negatively affect the condition of the material and how adequate care and ideal storage conditions can significantly extend its durability. Also, the existing standards were compared with their implementation in the National and University Library in Zagreb.

Ilegalna trgovina i otuđenje kulturnih dobara stoljećima su stari problemi koji su i dalje aktualni i primamljivi mnogim pojedincima zbog osobne zarade koju donose. Ovi problemi veoma su česta pojava tijekom prirodnih i društvenih katastrofa poput ratova. Ugrožavanje kulturne baštine neposredna je posljedica Drugog svjetskog rata i Domovinskog rata na području Republike Hrvatske kada su oštećeni i nestali mnogobrojni primjerci kulturne baštine. Cilj rada je približiti problem ilegalne trgovine i otuđenja kulturnih dobara na prostoru Republike Hrvatske kroz prošlost pa do danas. Rad obuhvaća povijest ilegalne trgovine i otuđenja kulturnih dobara tijekom prošlostoljetnih ratova, situaciju u suvremenoj Hrvatskoj i svijetu, mjere zaštite kulturnih dobara koje su donesene do danas i adekvatan odnos prema tim predmetima. Potpora ovom radu bit će stručni članci, ICOM-ova Crvena lista te razni zakoni doneseni u Republici Hrvatskoj i Europi koji se dotiču zaštite kulturnih dobara. Illegal trade and the looting of cultural goods have been a problem for centuries and are still relevant and tempting to many individuals because of the potential personal income. These problems are quite common occurrences during natural and social disasters such as wars. Endangerment of cultural heritage is a direct consequence of the Second World War and The Croatian War of Independence on the territory of the Republic of Croatia, when numerous examples of cultural heritage were damaged and thus disappeared. The aim of this paper is to bring forward the problem of illegal trade and looting of cultural property in the Republic of Croatia through the past and the present. The paper covers the history of illegal trade and looting of cultural property during wars that took place in the last century, the situation in modern Croatia and the world, measures for the protection of cultural property that have been adopted to date and an adequate attitude towards these objects. This paper will be supported by journal articles, the ICOM Red List and various laws passed in the Republic of Croatia and Europe concerning the protection of cultural property.

Djela Vojina Bakića obilježavaju spomen područja te su mjesta sjećanja na stradanja u prošlosti. Međutim, njegovi su spomenici nerijetko, iako priznati kao iznimna umjetnička djela, bili prepušteni propadanju, razaranju ili jednostavnom brisanju iz ambijenata u kojima su bili ostvareni. Radom će se prikazati povijesni okvir unutar kojeg su spomenici nastali. Osim toga, pojam teške baštine predstavlja još jednu bitnu točku ovog rada te će se propitivati sama definicija pojma, ali i nastojati utvrditi može li se kao takav vezati uz navedene spomenike i rad umjetnika. Tri naizgled vrlo različita spomenika imaju jednak motiv nastanka, ali njihov je tretman u potpunosti različit. Spomenik pobjedi revolucije naroda Slavonije predstavljao je jedno od najvećih i najznačajnijih ostvarenja apstraktne i modernističke skulpture. Danas nam o spomeniku svjedoče samo fotografije i zapisi. Spomenik je uništen te je na njegovom mjestu ostala praznina i zaborav. Spomenik ustanku naroda Banije i Korduna, poznatiji kao Petrova gora, danas predstavlja nakupinu propalog materijala te je jedna od najvećih nepoznanica hrvatske povijesti i umjetnosti. Spomenik je napušten i prepušten vremenu. Spomen park Dotrščina predstavlja tek nedavno uređeno spomen područje. Iznimni napori doveli su do prepoznavanja važnosti sjećanja, ali i same umjetničke vrijednosti spomenika te rad na njegovom očuvanju i održavanju. Cilj je ovog interdisciplinarnog diplomskog rada propitati pojam teške baštine, te različito tretiranje konkretno izabranih slučajeva. Spomenik kao takav je ujedno i umjetničko djelo koje ima svoju umjetničku vrijednost. Ona se nerijetko zanemaruje te spomenik biva lišen svih umjetničkih konotacija i postaje samo politička tvorevina. Osim toga, kroz rad će se nastojati spomenike sagledati kroz muzeološku i konzervatorsku analizu kao i potaknuti daljnju i dublju raspravu vezanu za zaštitu teške baštinu i spomenika revolucije na području današnje Hrvatske. The works of Vojin Bakić mark the memorial areas and serve as reminders of the past's sufferings. Despite being recognized as outstanding works of art, his monuments were frequently abandoned, destroyed, or simply erased from the environment in which they were created. The paper will present the historical context in which the monuments were built. Furthermore, the concept of dissonant heritage is an important aspect of this work, and the definition of the term, as well as whether it can be related to the mentioned monuments and the work of Vojin Bakić, will be questioned. Three seemingly disparate monuments were built for the same purpose, but their treatment is diametrically opposed. The Monument to the victory of the people of Slavonia was one of the greatest and most significant achievements of abstract and modernist sculpture. The monument was demolished and emptiness and oblivion have taken their place. Monument to the uprising of the people of Kordun and Banija, better known as Petrova gora, is today a cluster of failed material and one of Croatia's greatest unknowns in history and art. The monument was abandoned and left to deteriorate over time. Dotrščina Memorial Park is a memorial complex that was recently renovated. Exceptional efforts have resulted in the recognition of the importance of memory, as well as the artistic value of the monument and efforts to preserve and maintain it. The goal of this interdisciplinary thesis is to investigate the concept of dissonant heritage and different treatments of mentioned monuments. The monument as such is also a work of art that has its own artistic value. That value is often neglected and the monument is deprived of all artistic connotations and becomes only a political creation. Finally, the paper will try to look at monuments through museological and conservational analysis as well as encourage further and deeper discussion related to the protection of dissonant heritage and monuments of revolution in Croatia.

Tema završnog rada je hrvatski muzeji i društvene mreže, tematika završnog rada su društvene mreže kao novi oblik komunikacije u hrvatskim muzejima koji ih koriste kako bi privukli veći broj posjetitelja na izložbe te na taj način probudili veću svijest o važnosti kulturne baštine koja predstavlja identitet hrvatskog naroda. Fokus rada je usmjeren na pojam medija s naglaskom na nove medije, što su to mediji, kako utječu na moderno društvo 21. stoljeća te kako ih možemo koristiti u suvremenoj muzeologiji. Muzeologija je relativno mlada i zanimljiva znanstvena disciplina zbog čega omogućuje uzbudljivo i raznovrsno proučavanje koje nam omogućuje njezino bolje razumijevanje. Razumijevanje čak i osnovnih koncepata muzeologije nam omogućuje zaštitu onoga što volimo, onoga što uzdiže naš kulturni i intelektualni duh, postignuća koja nas predstavljaju kao ljudski rod te najvažnije i nas samih jer omogućuje ne samo zaštitu, već i prenošenje značenja kulturne baštine koja čini identitet određene nacije, a ujedno time i nas samih. Rad je prvenstveno usmjeren na hrvatske muzeje i na njihovo korištenje društvenih mreža kao suvremenog alata novih medija za uspješnije i lakše postizanje cilja muzeja i muzeologije kao znanstvene discipline. Opisat će se načini kako hrvatski muzeji koriste društvene mreže, koje društvene mreže preferiraju u odnosu na druge te će se provesti kvantitativna i kvalitativna analiza podataka. Pravilnim i moralnim korištenjem suvremene tehnologije, možemo ubrzati mnoge irelevantnije procese i posvetiti se važnijim aspektima te čak i očuvati kulturnu baštinu na načine koji kroz ljudsku povijest nisu bili mogući. Društvene mreže su dio moderne tehnologije te također znatno ubrzavaju proces prenošenja poruka ili obavijesti koji nas vode do buđenja svijesti o onome što je važno, što treba zaštititi te na koji ispravan način to treba zaštiti. Određene vrijednosti želimo sačuvati zbog same ljepote koje predstavljaju i zbog toga trebamo ozbiljno shvatiti ovu temu kako bismo omogućili generacijama koje možda još nisu ni rođene da također vide tu ljepotu. The topic of the final paper is Croatian museums and social networks, the topic of the final paper is social networks as a new form of communication in Croatian museums that use them to attract more visitors to exhibitions and thus raise awareness of the importance of cultural heritage that represents the identity of the Croatian people. The focus of the paper is on the concept of media with an emphasis on new media, what are the media, how they affect the modern society of the 21st century and how we can use them in contemporary museology. Museology is a relatively young and interesting scientific discipline, which is why it enables an exciting and diverse study that allows us to better understand it. Understanding even the basic concepts of museology allows us to protect what we love, what elevates our cultural and intellectual spirit, achievements that represent us as a human race and most importantly ourselves because it allows not only protection but also the transmission of the meaning of cultural heritage. nations, and at the same time ourselves. The paper is primarily focused on Croatian museums and their use of social networks as a modern tool of new media for more successful and easier achievement of the goal of museums and museology as a scientific discipline. The ways in which Croatian museums use social networks, which social networks they prefer in relation to others, will be described, and a quantitative and qualitative data analysis will be conducted. With the proper and moral use of modern technology, we can accelerate many more irrelevant processes and focus on more important aspects and even preserve cultural heritage in ways that have not been possible throughout human history. Social networks are part of modern technology and also significantly speed up the process of transmitting messages or notifications that lead us to awaken awareness of what is important, what needs to be protected and how to properly protect it. We want to preserve certain values because of the very beauty they represent and therefore we need to take this topic seriously to allow generations who may not even be born to see that beauty as well.

Rad polazi od pretpostavke da je zaštita složen i sustavan proces koji u sebi obuhvaća niz uzajamno povezanih faktora. Promišljat će se svrha i ciljevi zaštite te razraditi temeljni pojmovi navedene problematike. Rad će bit potkrijepljen i zakonskim okvirom zaštite građe u Republici Hrvatskoj te će biti strukturiran u dvije osnovne cjeline. U prvom dijelu rada će se izlagati temeljne teorijske spoznaje o problematici zaštite građe s posebnim naglaskom na staru i vrijednu knjižničnu građu. Rad će pokušati dati odgovore na pitanja zašto, kako i od čega štitimo raritetne zbirke knjižnične građe. Drugi dio rada vezan je za istraživanje na temelju Zbirke starih rukopisa i knjiga (dalje Zbirka) koja se nalazi unutar Nacionalne i sveučilišne knjižnice u Zagrebu. Kao poseban odjel Kraljevske sveučilišne knjižnice, Zbirka je utemeljena 1894. godine, a od samog osnutka do danas Zbirka sustavno vodi brigu o najvrjednijem dijelu hrvatske pisane baštine. Metodološki dio rada temeljio se na pregledu i analizi relevantne literature koja se bavi spomenutom tematikom te na istraživanju primjene teorijskih spoznaja u praksi. Metodom intervjua sa voditeljicom, koordinatoricom i ostalim zaposlenicima koji rade na Zbirci i u Odjelu zaštite i pohrane pokušat će se prikupiti podaci koji se tiču čuvanja i zaštite istraživane raritetne zbirke s ciljem da se potkrijepe navedene tvrdnje iz teorijskoga dijela rada. Upotrebom SWOT analize kao drugog djela istraživanja istaknut će se prednosti, slabosti, prilike i prijetnje koje su vezane za proces zaštite u Nacionalnoj i sveučilišnoj knjižnici. Ovim radom nastojat će se pridonijeti kvalitetnijem razumijevanju temeljnih i specifičnih pojmova i postupaka vezanih uz problematiku očuvanja knjižne baštine te sistematično prikazati brojne čimbenike koji utječu na učinkovitu dugoročnu zaštitu raritetnih zbirki te tako osigurati prenošenje kulturnih vrijednosti budućim generacijama, odnosno korisnicima. The paper starts from the assumption that protection is a complex and systematic process that includes a number of interrelated factors. The purpose and goals of protection will be considered in the paper and the basic concepts of the mentioned issues will be elaborated. The paper will be supported by the legal framework for the protection of materials in the Republic of Croatia and will be structured in two basic units. The first part of the paper will present basic theoretical knowledge on the issue of material protection with special emphasis on old and valuable library material. The paper will try to answer the questions of why, how and from what we protect rare collections of library materials. The second part of the paper is related to research based on the Collection of Old Manuscripts and Books (hereinafter the Collection) located within the National and University Library in Zagreb. As a special department of the Royal University Library, the Collection was founded in 1894, and from its very begining until today, the Collection has systematically taken care of the most valuable part of Croatian written heritage. The methodological part of the paper was based on the review and analysis of relevant literature dealing with the mentioned topic and on the research of the application of theoretical knowledge in practice. The method of interviews with the manager, coordinator and other employees working on the Collection and in the Department of Protection and Storage will try to collect data concerning the preservation and protection of the researched rarity collection in order to substantiate the stated claims from the theoretical part of the paper. Using SWOT analysis as the second part of the research will highlight the strengths, weaknesses, opportunities and threats related to the process of protection in the National and University Library. This paper will seek to contribute to a better understanding of basic and specific concepts and procedures related to the preservation of literary heritage and systematically present a number of factors that affect long-term protection of rare collections and thus ensure the transmission of cultural values to future generations and users.

Uloga muzeja u društvu se promijenila i sve se više fokusira na posjetitelje. Posjetitelji muzeja trebali bi biti svi oni koji to žele, uključujući i osobe s invaliditetom kojima treba osigurati dostupnost sadržaja vezanih uz kulturni život zajednice namijenjenih svim drugim građanima i poticati projekte koji afirmiraju njihove kreativne i umjetničke mogućnosti. Svojim aktivnostima muzej treba podizati razinu svijesti javnosti o pravima osoba s invaliditetom i tako doprinositi općoj toleranciji raznolikosti u društvu i suzbijanju stereotipa i diskriminacije. Cilj rada je analizirati prilagođenost inozemnih i hrvatskih muzeja osobama s invaliditetom u kontekstu povremenih izložbi, radionica, projekata i tehnoloških inovacija koje takvim grupama posjetitelja omogućuju ugodno iskustvo te edukativan i zabavan boravak u muzeju. U istraživačkom dijelu rada su metodom intervjua objedinjena četiri muzeja: Muzej suvremene umjetnosti u Zagrebu, Tehnički muzej Nikola Tesla, Muzej za umjetnost i obrt i Etnografski muzej u Zagrebu. S obzirom da se u posljednjem desetljeću intenzivnije radi na povećanju pristupačnosti muzeja osobama s invaliditetom, svrha ovog rada je sagledati razlike domaćih u odnosu na inozemne muzeje i navesti primjere dobre prakse koje bi naši muzeji mogli implementirati u svoje buduće programe. The role of museums in society has changed and is increasingly focusing on visitors. Museum visitors should be all those who wish to do so, including people with disabilities, who should be given access to content related to the cultural life of the community intended for all other citizens and encourage projects that confirm their creative and artistic potential. Through its activities, the museum should raise the level of public awareness of the rights of persons with disabilities and thus contribute to the general tolerance of diversity in society and the suppression of stereotypes and discrimination. The aim of this paper is to analyze the adaptation of foreign and Croatian museums to people with disabilities in the context of occasional exhibitions, workshops, projects and technological innovations that provide such groups of visitors with a pleasant experience and educational and fun time in the museum. In the research part of the paper, four museums were united by the method of interviews: the Museum of Contemporary Art in Zagreb, the Nikola Tesla Technical Museum, the Museum of Arts and Crafts and the Ethnographic Museum in Zagreb. More intensive work has been done in the last decade to increase the accessibility of museums to people with disabilities so the purpose of this paper is to look at the differences between domestic and foreign museums and give examples of good practice that Croatian museums could implement in their programs in the future.

Diplomski rad Komunikacija školskih knjižnica tijekom pandemije COVID-19 temeljen je na metodi intervjua i iščitavanju pravnih akata, a usporednom analizom nastoji se prikazati potencijalne razlike u djelovanju školskih knjižnica u Zagrebu i Baranji tijekom COVID-19 pandemije. Baranja je odabrana kao jedno od područja koje je izvan kulturnog centra, a situacija u Baranji uspoređena je s kulturnim centrom – Zagrebom. U Zagrebu se dogodio i potres, koji je nanio infrastrukturnu štetu, koje kroz grad variraju. Rad kroz pravni okvir djelovanja tijekom COVID-19 pandemije te knjižnične djelatnosti nastoji mapirati individualne načine nošenja s krizom. Master thesis Communication of School Libraries during COVID-19 pandemic is based on a method of series of interviews and readings of legal acts. Furthermore, comparative method is used as a means to discover potential differences in practices of school libraries in the city of Zagreb and Baranja region during COVID-19 pandemic. Baranja is chosen as an area that is not defined as a cultural centre so it could be compared to the city of Zagreb- the cultural centre of Croatia. In addition to the pandemic Zagreb has also suffered an earthquake that caused infrastructural damages that vary in devastation throughout the city. The paper tries to map individual ways in which the crisis have been dealt with in the legal context of pandemic operations and usual library activities.

U ovom završnom radu obrađena je problematika prikaza oružja u muzejima. Ova muzejska građa je posebno delikatna za izlaganje s obzirom da su oružja instrumenti uništavanja i ubijanja te su kao takva veoma osjetljiva tema, pogotovo možda za neke koji se lakše uznemire na ovakve prizore. Neka oružja, poput giljotine predstavnici su cijelog jednog režima i ukazuju na opresiju ljudi, dok na primjer srednjovjekovni mač može biti simbol viteštva, pravde itd. Ovaj završni rad dati će uvid u prezentaciju oružja u muzejima te problematiku pravilnog izlaganja i odgovoriti na pitanje je li oružju mjesto u muzejima, koji su u svojoj srži mjesto učenja i kulturnog uzdizanja. Muzej Domovinskog rata u Turnju jedan je primjer kroz koji prolazi ovaj seminar u pregledu načina prikaza oružja. The aim of this final paper is to interpret the problems of displaying weapons in museums. This kind of museum material is especially delicate for display considering weapons are instruments of murder and destruction and are as such a very sensitive theme, mostly for those who are easily disturbed at such sights. Some weapons, such as the guillotine are representative of a whole regime and point to oppression of people, while others, like the medieval sword can be symbols of chivalry, justice and so on. This final paper will give insight into the presentation of weapons in museums and the problematic of rightful display and answer the question: Do weapons belong in a museum?˝ which is, in its core, a place of learning and culture. The Homeland war museum in Turanj is one example through which this paper goes.

U arhivu se, osim pisanih dokumenata, čuvaju i fotografije koje su od jednake baštinske važnosti za povijest i kulturu te ih je iz navedenih razloga potrebno čuvati u adekvatnim uvjetima kako bi ostale u izvornom obliku. Jedan od primarnih zadataka arhiva i arhivista jest čuvanje i zaštita arhivskog gradiva, osiguravanje uvjeta u kojemu se gradivo. Diplomski rad sastoji se od teorijskog i istraživačkog dijela. Istraživanje ću provesti na odabranim primjerima u Hrvatskoj. Glavni fokus ovog diplomskog rada bit će fotografija kao arhivski predmet. Fotografija zahtjeva posebne uvjete čuvanja u arhivu kao i preventivne mjere zaštite. Dužnost arhiva je postupati sa svom arhivskom građom na prikladan način omogućavajući adekvatne mikroklimatske uvijete prilikom čuvanja i korištenja građe, pa tako i fotografije. In addition to written documents, the archive also contains photographs that are equaly for history and culture heritage importance, and for these reasons they need to be kept in adequate conditions in order to remain in their original form. One of the primary tasks of archives and archivists is the preservation and protection of archives, ensuring the conditions in which the documents are kept. Thesis consists of a theoretical and a research part. I will conduct research on selected examples in Croatia. The main focus of this thesis will be photography as an archival document. The photography requires special conditions of storage in the archive as well as preventive protection measures. It is the duty of the archives to handle all archival material in an appropriate manner, enabling adequate microclimatic conditions when storing and using the material, including photographs.

Knjižnična građa i arhivsko gradivo kulturna su baština koje knjižnice i arhivi čuvaju i daju na korištenje cijeloj zajednici. Kako bi tu zadaću knjižnice i arhivi bili u mogućnosti ispunjavati, potrebno je zaštiti građu, odnosno očuvati je što je kvalitetnije i duže moguće kako bi svim korisnicima bio omogućen pristup traženim informacijama. Oštećenja nastala na gradivu mogu biti razna, od mehaničkih do fizikalno-kemijskih, te mogu biti uzrokovana namjerno ili slučajno, primjerice neodgovornim ponašanjem. Oštećenje naravno može uzrokovati i osoblje ustanove, ali i njihovi brojni korisnici. Zaštita stoga obuhvaća razne mjere koje su usmjerene na sprječavanje nastanka ili popravak mogućih oštećenja, a najpoželjnije mjere su one preventivne prirode. Čovjek svojim nemarnim postupanjem i odnosom prema građi može imati negativni utjecaj na građu i gradivo pa se tako smatra jednim od mnogobrojnih opasnosti za građu. Stoga su predmet proučavanja ovog rada upravo korisnici knjižnica i arhiva te njihova informiranost o očuvanju građe i gradiva. Empirijski dio rada obuhvaća način postupanja i odnos korisnika prema građi i gradivu te se na temelju anketa provedenih u knjižnicama i arhivima istražuje koliko su zapravo njihovi korisnici upoznati s pravilima ponašanja ustanova, rukovanja i zaštite općenito. Library and archival materials are perceived as cultural heritage which libraries and archives store and make available for the whole community to use. For that purpose to be filled, libraries and archives have a duty to protect and preserve those materials as long as possible so that all users can access the information they need. Damage of materials can vary from mechanical to chemical, damage and can also be caused on purpose or by accident, for example by irresponsible behaviour. Damage can also be caused by library’s or archive’s personnel or by their numerous users. Protection includes measures which are directed either to preventing possible damages or to conservation of materials. The most desirable measures are the ones which target prevention. People can have a negative impact on library and archival materials with their negligent behaviour and attitude towards the materials and for that reason the man-made damages are considered to be one of many potential dangers to materials. Therefore, users of libraries and archives and their awareness of protection of library and archival materials are in focus of this thesis. Empirical part of the thesis includes the way in which users handle and treat materials. Based on the survey conducted in libraries and archives, it is determined how much exactly are the users familiar with the rules of institutions, handling of their materials and preservation in general.

Knjižnice, i sva građa koja se u njima nalazi, neprocjenjivi su izvori ljudskoga znanja. Zapisi koji opisuju razne povijesne događaje, medicinska otkrića, tehnološke inovacije te književna i glazbena remek djela koja sačinjavaju građu knjižnica, samo su dio kulturnog nasljeđa koje pripada cijelom čovječanstvu. Zbog njene važnosti, knjižničnom građom je potrebno rukovati slijedeći određena pravila i postupke kako bi ju se i dalje moglo koristiti uz minimalnu mogućnost nastanka štete koja bi nepovratno umanjila njenu vrijednost. Ipak, potrebni su određeni uvjeti kako bi se građu zaštitilo od raznih okolišnih čimbenika koji mogu negativno utjecati na njeno stanje. Svjetlina, temperatura, vlaga, prašina, insekti, učestalo rukovanje te prirodne katastrofe samo su neke od opasnosti. Iako postoje propisi i zakoni o zaštiti građe u knjižnicama, provođenje istih drugačije je u svakoj knjižnici s obzirom na njenu strukturu i znanje zaposlenih. Potrebno je vidjeti kako se u praksi provode pravila i preventivne mjere zaštite, što će biti prikazano na primjeru knjižnice Filozofskog fakulteta Sveučilišta u Zagrebu kroz razgovor sa zaposlenicima koji su svakodnevno u direktnom kontaktu sa građom. Libraries as well as library materials stored within them, are an inestimable source of human knowledge. Written records describing different historical events, medical discoveries, technological innovations and literary and musical masterpieces that constitute library materials are only a part of cultural heritage that belongs to the entire humankind. Because of their value, library materials must be handled adhering to certain rules and procedures in order to continue using them without causing damage that would irretrievably diminish their value. However, in order to protect library materials from different environmental factors that could have a negative effect on them, certain conditions must be met. Light, temperature, humidity, dust, insects, frequent use and natural disasters are only some of the dangers. Although there are regulations and laws on the preservation of library materials, implementing them differs from library to library, considering its structure and knowledge of the staff. How are these rules followed and how are preventive measures of preservation implemented needs to be observed. This will be shown on the example of the Library of the Faculty of Humanities and Social Sciences of University of Zagreb through conversation with the employees who are in direct contact with library materials on a daily basis.

The conflict in focus  the relationship between the concept of secrecy, which the national security system is entitled to, and the request of the public, which is a norm of a democratic society  is only one of the elements appearing in a specific relationship between the system and the media. On the other hand, a part of their relationship can also be marked by a combination of dependence, manipulation, support and praise, which can lead to conflicts of other relevant categories from the group which are related to independence and the quality of information. A similar situation involving the relationship with the source is also conspicuous here  the relationship between the journalist and the source, the system and the source or, also according to the authors mentioned above, the possibility of fraudulent, including illegal, behaviour, in order to obtain the information inaccessible to the public.

Software visualization technology provides better understanding and more efficient creation and use of computer software by graphically representing its components, functionality or algorithms. There are various uses and benefits of software visualization, from detecting logical bugs, errors and performance bottlenecks to their use in simulations and e-learning. This paper focuses on algorithm visualization tools, approaches and languages, which show various states, transitions and data structures in more abstract and clearer way than algorithms presented with traditional programming code. It also shows the importance of visualization in learning algorithms, those that are taught at the very beginning of programming courses, as well as advanced cryptographic algorithms. Visualization tools differ in the level of engagement they provide to their users: some of them provide only simplest interactivity, while other provide questions and quizzes, changing input data or constructing custom visualizations. The paper analyses modern and most popular tools and approaches in algorithm visualization and compares their characteristics, advantages and disadvantages in order to show the most important characteristics of today’s visualization tools and approaches, and their suitability for different problem areas and scenarios. The paper also analyzes the impact of software visualization on students’ knowledge, motivation and efficiency.

This paper offers a rationale for storytelling and multimedia in the context of learning the Japanese script Hiragana. There is a growing interest in the field of computer-assisted language learning (CALL) of Japanese and the use of multimedia to achieve learning goals. The complexity of the Japanese writing system raises a lot of questions on how to accelerate and improve the process of learning Japanese scripts. In the domain of CALL and multimedia, this paper considers the methodological approach to language learning and presents a design of a multimedia tutorial for learning Japanese script Hiragana. The paper synthesizes multimedia and storytelling with its implications to learning and instructional design to inform creation of such a framework.

In the last decade, Croatia has been the transit or receiving country for many refugees who come from the Middle East and Africa and who mostly speak Arabic as their mother tongue. Native speakers of Arabic are faced with many difficulties in the process of learning Croatian. Croatian is written from left to right, and Arabic from right to left. Phonological inventories of Croatian and Arabic are very different, vowels are generally not written in Arabic (or more precisely they are not written with graphemes), grammar is very different, etc. All this demotivates students at the initial stage of learning. Based on the experience of one of the authors with teaching Croatian to asylees and asylum seekers who mostly came to Croatia from the war-ridden Middle East and African countries in the last few years and who are mainly speakers of Arabic, the authors started developing educational games which could facilitate their initial steps in learning Croatian. Games focus on the acquisition of the Latin script and the Croatian phonological inventory (games in which the player writes the pronounced sound, hangman with or without the picture of the required word, etc.). As the difference between capital and small letters does not exist in Arabic, games that tackle certain orthographic issues are also developed. All games have explanations in Arabic that prevent ambiguity and show differences between Croatian and Arabic. The learning material also emphasizes the difference between the phonemes p and b and introduces as many vowel games as possible. The goal is to reduce the beginner’s fear of language learning and motivate the learners.

Through the last couple of decades, encyclopaedias have transformed significantly, becoming digital and born-digital, full of multimedia, and today among other characteristics being well connected via hypertext and metadata. At the same time, in digital humanities an increasing emphasis is being put on mapping or geotagging archival data, with special emphasis on networking projects and international cooperation. Digital platforms are being designed for publishing, describing, presenting, searching or browsing through historical sources. Some projects take the temporal aspect further, enabling not just retrieving historical data but also offering navigation through space and time via interactive maps. Encyclopaedias joining such initiatives would allow for new ways to explore its content and connecting encyclopaedic knowledge with specific artefacts and locations so users could visit them. Some encyclopaedic projects include a similar approach to their content, but further development is needed. In this paper, authors analyse existing conditions among web-based encyclopaedic projects (such as the Brockhaus Encyclopaedia and the Slovenian biographical lexicon), the data types appropriate for geotagging, opportunities and perspectives. This paper will also explain how using geotagging enhances encyclopaedias’ characteristics. This would contribute to further encyclopaedia’s interactivity and allow for new ways for users to explore content and learn, in turn contributing to its greater usage.

This paper discusses the concept of data quality in the context of longitudinal research. By deconstructing quality assurance process and data collection strategies through a case study of the “Croatian Birth Cohort Study“, we try to define causes and sources of poor data quality in the context of longitudinal studies. Besides the problems discussed throughout the known literature (panel conditioning, sample attrition, recall bias, temporal and financial demands), we introduce singlesource problems, multi-source problems, security problems, design questionnaire problems and QA workflow problems as important aspects in the domain of the possible sources of errors. Additionaly, we propose models for eliminating the errors through prevention and detection in order to improve data quality.

U radu se definiraju muzejski predmeti kao dio kulturne baštine koju je nužno zaštititi. Iscrpno su objašnjene vrste prirodnih katastrofa. Istražuju se prirodne katastrofe, klasificiraju se te se pojašnjava opasnost od istih na području grada Zagreba. U radu su iscrpno objašnjene faze, te metode zaštite od prirodnih katastrofa prije, tijekom i nakon događanja istih. Posebno poglavlje posvećeno je Arheološkom muzeju u Zagrebu. Opisani su početci i povijest Muzeja, selidbe na brojne lokacije i promjene različitih zgrada, brojni značajni ravnatelji koji su ga vodili, te njegov izuzetno bogati fundus. Istražuju se određene poteškoće koje je imao u prošlosti, kao i one koje su se dogodile nedavno. U radu se analizira spremnost Arheološkog muzeja u Zagrebu na potencijalni događaj prirodne katastrofe. Istraživanje je provedeno tabelom s određenom skupinom pitanja, koju su popunili djelatnici Muzeja. Odgovori na pitanja daju okvirnu i opću sliku o stanju pripremljenosti Muzeja za nesreću. Dobiveni rezultati pokazuju razinu spremnosti i ukazuju na neke slabe točke muzeja. This thesis defines museology artefacts as part of the cultural heritage which is necessary to protect. The different kinds of natural disasters are thoroughly explained. The author analyses natural disasters, classifies them, and explains the danger they pose on the city of Zagreb area. The phases and methods of protection before, during and after the disaster has happened are thorougly explained. One section is dedicated to the Archaeological museum in Zagreb. The begginnings and the history of the Museum, its moving to a number of locations and changing of different buildings, numerous significant directors who were running it, and its incredibly rich collection will be acknowledged. The author analyses certain difficulties Museum had in the past, as well as the ones it had recently. The level of readiness for potential natural disaster in the Archaeological museum in Zagreb is analysed. Research was carried out with a chart with certain group of questions, which was completed by the Museum staff. Answers to these questions give rough and general picture about the state of preparedness of the Museum for the incident. The results show the level of readiness and point out to some weak spots of the Museum.

Ovaj rad bavi se zaštitom audiovizualne građe. U prvom dijelu su objašnjeni svi faktori koji se moraju uzeti u obzir - vlaga, temperatura, mehanička oštećenja, prašina, svjetlost i magnetska polja - pri planiranju prostora u kojem će se građa pohraniti. Zatim je u drugom dijelu audiovizualna građa podijeljena po vrsti i svaka je pobliže objašnjena te su dane upute za pravilnu pohranu, korištenje i rukovanje. Rad se bavi i time kako se Odjel za audiovizualnu građu u Gradskoj knjižnici „Ivan Goran Kovačić“ bori s većom količinom građe u manjem prostoru i zadanim nepovoljnim uvjetima. This paper deals with audiovisual recordings' preservation. The first part explains all the factors that have to be taken into consideration while planning how and where the audiovisual carriers will be stored. Those factors are humidity, temperature, mechanical damage, dust, light and magnetic fields. In the second part, instructions on proper storage, usage and playing are given for each of the audiovisual carrier types. This paper also deals with how the Audiovisual Department of Ivan Goran Kovačić Library in Karlovac manages to store their materials in a relatively small space that is unsuitable for audiovisual storage.

Ovim se radom ukazuje na potrebu zaštite i očuvanja glazbala i glazbene građe u muzejima. Prikazano je što sveobuhvaća pojam zaštitete kako se zaštitaprovodi. Predmeti se sakupljaju u prirodnom ambijentu te izdvajajuu muzej. Tom prilikom poduzimaju se preventivne mjere koje podrazumijevaju osiguravanje odgovarajućeg prostora za smještaj predmeta, zatim kurativne mjere koje se provode kako bi se otklonil eposljedice oštećenja na predmetima i ojačala njihova struktura te ih se zaštićuje od propadanja. Slijede mjere dokumentacije (inventarizacije) i bilježenje svih karakteristika po kojima su ti predmeti značajni. Očuvanje se vrši kroz sve tri osnovne muzejske funkcije; zaštitom direktno, te istraživanjem i interpretacijom indirektno, što je opisano općenito te u primjerima Muzeja grada Zagreba i Etnografskog muzeja Zagreb, kao muzejima koji sadrže glazbala i glazbenu građu u stalnom postavu ili takvu građu prezentaciju na povremenim izložbama ili je čuvaju u čuvaonicama. Glazbalai glazbena građaimaju svoja materijalna i nematerijalna svojstva, koja treba zaštititi jednako kao i ostale muzejske predmete. Takva je građa specifična jer se može koristiti, što dovodi do problematike i polemike svakog muzeja te zbog svoje specifičnosti zahtjeva drugačiji pristup, s etičkim načelima. Svrha je nužnost zaštite zbog očuvanja baštine od propadanja s ciljem komunikacije i prezentacije nama u sadašnjosti te generacijama u budućnosti. This work points to the need to protect and preserve musical instruments and musical material in the museums. It shows what the term protection is all about and how protection is implemented. The artifacts are collected in a natural setting and extracted into a museum. On this occasion, preventive measures are taken to ensure adequate space for the accommodation of objects, then curative measures are implemented to eliminate the effects of damage to the objects and strengthen their structure and protect them from deterioration. The following are documentation (inventory) measures and recording of all the characteristics by which these items are significant. Preservation is done through all three basic museum functions; protection directly, and research and interpretation indirectly, as described generally and in the examples of the City Museum of Zagreb and the Ethnographic Museum of Zagreb, as museums containing musical instruments and musical material in a permanent exhibition or such material presented at occasional exhibitions or kept in the watch rooms. Musical and musical material have their tangible and intangible properties, which should be protected as much as other museum objects. Such material is specific because it can be used, which leads to the problems and controversy of each museum and because of its specificity requires a different approach, with ethical principles. The purpose is the necessity of protection in order to preserve the heritage from decay in order to communicate and present it to us in the present and generations to come.