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Copyright of Obnovljeni zivot is the property of University of Zagreb, Society of Jesus and Faculty of Philosophy & Religious Studies 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 Natura Croatica is the property of Natura Croatica 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 Menotyra is the property of Lithuanian Academy of Sciences Publishers 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 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 Acta Stomatologica Croatica is the property of Acta Stomatologica Croatica 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 Kaunas History Chronicle is the property of Vytautas Magnus University 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 School Chronicle / Šolska Kronika is the property of Slovenski Solski Muzej 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.)

Purpose. The purpose of this paper is to present appraisal models of visual material printed in the newspapers. Furthermore, the aim is to analyse aspects of its description and reformatting in the context of heritage institutions. Methodology. The research presented in this paper was conducted on the sample of Jastrebarske novine (1964-1991) and based on the analysis of historical and contemporary contexts of the newspaper's creation and use. In addition, a quantitative and qualitative content analysis was conducted on the same sample. Findings. Visual material and elements of graphic design in the newspapers are important from the perspective of their content and are often inseparable from the textual parts of the articles. The societal and political discourses of the visual material printed in Jastrebarske novine is of less importance compared to their significance as the resources for better comprehension of local history and everyday life. When reformatting newspapers in which visual contributions are valued as significant, it is necessary to take into consideration the visual elements. Originality. This paper validates the need to appraise individual newspapers in their historical and contemporary context and from the perspective of their visual material. Moreover, the reformatting methods are examined, and emphasis put on the importance of inductive and analytical approach during conversion to other media. According to our current knowledge, this paper for the first time presents a content analysis of visual material in the newspapers based on a contextual analysis of a local newspaper and from the perspective of reformatting policies and practices. [ABSTRACT FROM AUTHOR]

Copyright of Zivot Umjetnosti is the property of Zivot 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.)

Copyright of Zivot Umjetnosti is the property of Zivot 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.)

Copyright of Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 Logos: A Journal, of Religion, Philosophy Comparative Cultural Studies & Art (08687692) is the property of Logos 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 Studia Ethnologica Croatica is the property of Studia Ethnologica Croatica 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 Studia Ethnologica Croatica is the property of Studia Ethnologica Croatica 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 Studia Ethnologica Croatica is the property of Studia Ethnologica Croatica 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.)

Analizom utjecajne američke fotografske izložbe The Family of Man, održane 1955. godine, pokušat će se odrediti koliki je značaj imala na razvoj međunarodnih fotografskih izložbi u Hrvatskoj. Izložba je doživjela veliku posjećenost za vrijeme gostovanja u Zagrebu 1958. na Velesajmu. Radovi izloženi na The Family of Man utjecali su i na razvoj fotografije koja se u najvećoj mjeri promovirala na skupnim izložbama, takozvanim salonima, koji su kako u Hrvatskoj tako i na međunarodnoj sceni popularizirali profesionalnu fotografsku scenu. Usporedbom The Family of Man i nekoliko skupnih međunarodnih izložbi o kojima će biti riječi u članku, naišlo se na mnoge sličnosti među prizorima. Zbog potrebe za dubljim uvidom analizirao se kontekst nastanka navedene izložbe u čemu su pomogli i pregledi tekstova u stručnim fotografskim publikacijama. Zahvaljujući tim publikacijama, mogao se pratiti odjek izložbe na našim prostorima, koja je osim u Zagrebu, godinu ranije gostovala i u Beogradu. Navedeni podatci potrebni su kako bi se probalo utvrditi do koje je mjere američka izložba u poslijeratnom periodu postala simbol humanosti, ljubavi i mira u svijetu oslobođenog od mržnje, rasizma i svega što ih prati, a kako su je u međunarodnoj javnosti predstavljali njezini organizatori, ili je poslana na svjetsku turneju prvenstveno s ciljem širenja američke propagande.

Iako je udio fotografije u oblikovanju slike svijeta u eri vizualnog obrata postao notorna činjenica, usprkos intenziviranju istraživanja ovog medija pojedine su teme u kulturnoj povijesti još uvijek nedostatno zastupljene. Karakterističan je primjer arhitektonska fotografija, gdje osim studija autorskih opusa pojedinih protagonista fotografije u Hrvatskoj, još uvijek nema cjelovitih historiografskih uvida. Polazeći od interaktivne dinamike odnosa fotografije i arhitekture kao komplementarnih medija, u tekstu se analiziraju kompleksne uloge fotografije u bilježenju i (re)kreiranju značenja arhitektonskih prostora, urbanih ambijenata, javnih i privatnih prostora. S težištem na karakterističnim žanrovskim, medijskim i autorskim primjerima iz arhitektonske publicistike (albumi, periodika, monografije, katalozi izložbi), primjenom usporedne analize rasvijetlit će se značenja fotografije u medijaliziranju arhitektonskog diskursa i vizualiziranju urbanog identiteta Zagreba. Na osnovi analize modela sagledavanja prostora koji generiraju novu dinamiku odnosa slike i teksta, cilj je doprinijeti kontekstualiziranju arhitektonske fotografije unutar konstruiranja moderne kulture i oblikovanja kolektivne memorije grada Zagreba.

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 Zivot Umjetnosti is the property of Zivot 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.)

Copyright of Zivot Umjetnosti is the property of Zivot 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.)

Copyright of Tekstilec is the property of University of Ljubljana, Faculty of Natural Sciences & Engineering, Department of Textiles 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.)

Godine 2011. Ivo Arany, Dragutinov sin, poklonio je Hrvatskom glazbenom zavodu očevu ostavštinu koju čine hemeroteka, glazbeni časopisi, koncertni plakati i programi te ostali dokumenti. Hemeroteku je vrijedni violist i organizator zagrebačkoga glazbenog života Dragutin Arany (1899-1964) sakupljao cijeloga života, a dosad je obrađen samo jedan njezin dio. Popis novinskih članaka iz razdoblja od 1912. do 1929. pokazao je da je samo u tom razdoblju sakupljeno gotovo 4.000 novinskih članaka, glazbenih kritika, najava, eseja, biografi ja i drugih napisa o glazbi. Osim što Hemeroteka Dragutina Aranya nudi bogat izvor podataka o glazbenom životu toga razdoblja, ona ga i oslikava ikonografskim izvorima. Tadašnji su glazbeni događaji i njihovi protagonisti zabilježeni fotografi jama, crtežima i karikaturama pa hemeroteka ne služi samo kao izvor o glazbenom životu već o cjelokupnom umjetničkom i društvenom životu Zagreba dvadesetih godina 20. stoljeća.

The present article revisits Bruno Latour's Actor-Network theory, as well as Erika Fischer-Lichte's theory of performative aesthetics, which are employed as a methodical approach to review the works of Lithuanian photographer, photographic artist Gintautas Trimakas, in his exhibition Answer. In the exhibition, the artist chose to present a series of works whose photographic processes took place in the gallery space itself. This decision opened new possibilities to consider the exhibition as a performative action carried out by various networks of actors, starting from local, surrounding objects, such as the space itself, the visitors and architectural elements, and ending with electromagnetic waves generated by the Sun or the rotation of the Earth. All these factors played a role in creating photographic images in the camera-less technique, capturing the light throughout the exhibition. Hence, it is proposed that these actors should be considered co-authors of the work. It is noted that the traditional dual structures of nature / culture, and object / subject have faded away. All the actors in this exhibition have received an equal status; therefore, human as well as non-human agents are recognized to have participated in this performative action. Thus, the visuality of the work should be considered a result of collective effort. Moreover, the positions of a subject and an object have also lost their relevance, since the objects of the exhibition are no longer seen as passive; just like the subjects, they are able to react to the surroundings and be active performers of the work. [ABSTRACT FROM AUTHOR]

The research presented in the article explores the features and use of historical photographs chosen to represent the Holocaust in Lithuania in Lithuanian and international historiography, including popular literature. Referring to the theoretical literature on Holocaust photography, critical areas of Holocaust photography are outlined, and images found in the historiography of the Lithuanian Holocaust are systemized accordingly. Secondly, by analyzing different categories (the photographer's identity, topic, event, subject, location, caption type, archival source), photographs from Lithuanian and international publications are compared. Finally, the main critical aspects of the publication of photographs representing the Holocaust in Lithuania are identified and discussed, paying special attention to the issues of their iconic properties and authenticity. The results of the presented research show an obvious necessity for historical research on the circumstances of the emergence of Holocaust photography and its dissemination in later times. A superficial approach to historical photographic sources is evident from abstract, laconic and sometimes even erroneous captions, the failure to indicate the original circumstances of the appearance of specific images, omitting the photographer's name or the archival source. Other aspects of photographic representations of the Holocaust worth mentioning are a strong countertrend to the prevailing perpetrator perspective, the predominance of images from Kaunas, and the prominence of the topic of ghetto life. This situation is mostly a result of the wide circulation of photographs taken by the Kaunas ghetto inmate Zvi Hirsh Kadushin (1910-1997) both in Lithuania and abroad. Pilot rather than conclusive, the present research aims to map out the main topics for the future research on Holocaust photography in Lithuania. [ABSTRACT FROM AUTHOR]

The article explores the infamous photographs from the Abu Ghraib prison that circulated and were made public in 2004. It specifically looks at how the sense of togetherness was enacted by the U.S. military personnel stationed in the site, and the way cameras were instrumental in this process. It argues that the resultant photographs can be seen as tourist-like in several respects. A notable aspect of the photographic images is that the soldiers who took them repeatedly appear in the frame themselves. Appearing in and photographing the abusive acts was not only a form of structuring and reinforcing power relations at the prison, but also an attempt to portray a fun-having personnel group. The visual signifiers - thumbs up, smiles, pointed fingers - authenticate the images, lending them some of the qualities of tourist photography. At Abu Ghraib, the soldiers' photographic practice also partly served as a sense-making mechanism, allowing a symbolic distance between the camera-wielder and unforeseen emergent events. It promised a wishful alternative to the grim realities of the prison: an overcrowded and undersupplied facility with a lack of on-site leadership. The scars of resultant violence - and the notorious photographs that document it - remain relevant, and continue to resurface in recent social and political contexts. [ABSTRACT FROM AUTHOR]

Straipsnyje tiriamas teisėsauginės fotografijos tapsmas Rusijos valdytose istorinėse Lietuvos žemėse. Siekiama atsakyti į klausimus, kaip XIX a. keitėsi asmens tapatybės samprata, kokioms Lietuvos gyventojų grupėms caro administracija fotografinės identifikacijos metodą pradėjo taikyti pirmiausia, kas lėmė būtent šių grupių išskyrimą, kaip vizualinė visuomenės priežiūra buvo vykdoma ir kuo Šiaurės vakarų teritorijoje praktikuoti būdai skyrėsi nuo vaizdinės kontrolės kituose Romanovų imperijos regionuose. Kartu aptariamas fotografijos, kaip moralės ir politikos požiūriu pavojingos medijos, statusas bei mėginimas XX a. pradžioje liberalizuoti teisinį jos reglamentavimą. [ABSTRACT FROM AUTHOR]

Copyright of CEPS Journal is the property of University of Ljubljana, 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.)

The publication presents a collection of photographs from the end of the 19th century by Daunorava Latvians – Dundurnieki (Joniškis parish) collected in 2016–2019 (1,270 items). Methods used in the research were: interview, genealogical, source and literature analysis, typological, and comparative. It is a valuable source of local history in terms of quantity and content to study the anthropology of Latvians living in the northern part of Lithuania, the genealogy of individual families, their daily lives, customs, holidays, education, social and economic activities, clothing, homesteads, huts or their details and more. [ABSTRACT FROM AUTHOR]

Copyright of Historical Journal / Historijski Zbornik is the property of Drustvo za Hrvatsku Povjesnicu 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.)

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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 article deals with the life of Anton Sedej (1887-1959) from Dole above Idrija, a construction engineer who devoted most of his free time to photog- raphy. His life was spanned from the last decades of the Austro-Hungarian monarchy to the turbulent first half of the 20th century and was therefore extremely interesting: from his youth at the secondary school in Idrija and studying civil engineering in Vienna to being drafted in the First World War and convicted at the end of the Second World War. He left about two thou- sand photographs, partly on glass, which are kept by the City museum in Idrija and waiting to be processed in detail. A collection of photographs is also kept at his home. Both collections consist of not only images of his home surroundings, but also images from other sites in Slovenia and abroad. [ABSTRACT FROM AUTHOR]

Copyright of Art Words / Likovne besede is the property of Slovenian Association of Fine Arts Societies (ZDSLU) 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 Croatian History / Radovi Zavoda za Hrvatsku Povijest is the property of Zavod za Hrvatsku Povijest, Filozofski Fakultet 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 Culture & Society: Journal of Social Research / Kultūra ir Visuomenė: Socialinių Tyrimų Žurnalas is the property of Vytautas Magnus University 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 Anthropology Magazine is the property of University of Belgrade, Faculty of Philosophy 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 Acta Humanitarica Universitatis Saulensis is the property of Acta Humanitarica Universitatis Saulensis 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 Ethnological Forum / Etnoloska Tribina is the property of Etnoloska Tribina / Ethnological Forum 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.)

Copyright of Ars Adriatica is the property of Sveuciliste u Zadru (University of Zadar) 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.)