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Copyright of Novi Izraz is the property of P.E.N. Centre Bosnia & Herzegovina and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Social Sciences & Humanities Studies / Društvene i Humanističke Studije (DHS) is the property of Faculty of Humanities & Social Sciences, University of Tuzla and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of the Institute of Art History is the property of Radovi Instituta za Povijest Umjetnosti and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper presents analysis results of the album by Ivan Standl from 1871, entitled “Memory of Zagreb”. Besides its remarkable cultural-historical value for Zagreb and Croatian photography in general, the album is also impor-tant due to printing technique of prints it contains. Namely, the photographs were multiplied by the collotype printing process, the latter being put into prac-tice only several years before, which makes the album a pioneering achievement of the photomechanical printing on the Croatian soil. It was conceived and com-pleted on the occasion of the First General Croatian Teachers’ Assembly held in Zagreb in 1871. Standl’s motifs of Zagreb were photomechanically multiplied in Munich at the establishment of Joseph Albert, a photographer, one of the inven-tors of the collotype printing. The procedure was refined and became commer-cially available only two years before Standl’s album was made. Standl most prob-ably became aware of the possibilities of the photomechanical printing and of the basic features of the collotype process via the Photographische Correspondenz jour-nal, the official organ of the Vienna Photographic Society, whose member he was from early 1866. Albert’s collotype prints illustrated more than one issue of that professional journal, the latter being available to Standl every month as the Soci-ety’s member. In all likelihood, the Croatian and Zagreb photography for the first time thus became aware of the possibilities provided by then brand new photo-mechanical prints and thanks to Standl and the financial aid of the Main Com-mittee of the Teachers’ Assembly, they were able to see and obtain examples of the new invention with motifs of Zagreb. The results of the research presented in the paper – by reconstructing the context of creation of Standl’s photo album and by precisely determining the making process of the prints it assembles – enrich the history of photography in Croatia with new insights and indubitably confirm the already known importance of its author as the most renowned protagonist of the photographic medium in the 19th century Croatia. [ABSTRACT FROM AUTHOR]

Copyright of Issues in Ethnology Anthropology is the property of Issues in Ethnology Anthropology and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Post Scriptum - Casopis za Obrazovanje, Nauku i Kulturu is the property of University of Bihac, Faculty of Education and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper analyzes the media's visual representation of various poverty groups within Serbia. The visual representation is not simply a reflection of reality, but rather an instrument that plays an important role in prescribing different meaning to media events and their appearances in public. The aim of this research is to determine how the visual code transmits messages about poverty and socially excluded groups, in the analyzed television news, newspaper and online photographs. Based on the sample of 410 articles on poverty, collected between the 14th and 28th of October 2010 and 2011, this paper critically analyses the medias representation of poverty within Serbian society through methods of content analysis, critical discourse studies, and the use of semiotic approaches to images. Analysis of the structure of discourse shows that the visual representation of the poor in Serbian society is highly simplified, stereotyped and is separated from the wider societal context of poverty. It is rather reduced to bits and pieces of media images, which do not properly indicate the seriousness of the problem of poverty making it difficult for mass audiences to identify with. [ABSTRACT FROM AUTHOR]