Search

U doktorskom radu Sakralna arhitektura Zlatka Ugljena predstavljene su sakralne građevine koje je projektirao arhitekt Zlatko Ugljen od početka njegova stvaralaštva krajem 60-ih godina 20. stoljeća do danas. U radu su analizirani, istraženi i interpretirani svi Ugljenovi realizirani i nerealizirani sakralni projekti. Objašnjeni su izvori Ugljenova specifičnoga arhitektonskog izričaja koji sintetizira modernizam – kao osnovno stilsko polazište – ali i postmodernizam i tradicijsko graditeljstvo bosanskohercegovačkog prostora. Pozornost je stavljena na interpretaciju eksterijera i dizajna interijera, a građevine su promatrane u teološkom, povijesnom, teritorijalnom i kulturološkom kontekstu prostora u kojima su sagrađene. Pored popisa i analize, u radu se donose i valoriziraju postojeće interpretacije Ugljenovih sakralnih objekata od strane istraživača iz zemalja nekadašnje Jugoslavije, ali i drugih svjetskih teoretičara arhitekture i publicista. Ugljenova sakralna arhitektura (realizirani i nerealizirani projekti za islamske i katoličke bogomolje) postavljena je u teorijski okvir kritičkog regionalizma, ali i kulture sjećanja jer je ona – sa svojim specifičnostima – bitan čimbenik pri promatranju tradicijskih prepleta različitih vjerskih i identitetskih zajednica koje obitavaju na istom prostoru. Svi objekti popraćeni su fotografijama, skicama, tlocrtima i prikazima projekata te njihovim eventualnim objašnjenjima. U radu je pozornost stavljena na proces nastanka i realizacije projekata te su ti procesi potkrijepljeni sadržajima iz arhivskih dokumenata i brojnih intervjua koje su dali sudionici i svjedoci nastanka projekata. Sadržaj disertacije zaokružen je katalogom u kojem se donose pojedinosti o projektima te intervjuom sa Zlatkom Ugljenom u kojem autor govori o osobnim i profesionalnim iskustvima te razmišljanjima o sakralnoj arhitekturi. U širem smislu, disertacija se bavi analizom moderne i postmoderne islamske i katoličke sakralne arhitekture u Bosni i Hercegovini, ali i u regiji i svijetu, uz osvrt na društvene i političke prilike koje su utjecale na nju. Zlatko Ugljen's religious architecture represents an indispensable segment not only of the author’s creative work, but also of the overall contemporary catholic and islamic religious architecture in Bosnia and Herzegovina and in the region. Zlatko Ugljen designed more than 200 buildings in his career, and was presented with various awards both at local and international level. As a professor at the Faculty of Architecture in Sarajevo, he educated many generations of architects. However, the greatest contribution to the regional architecture Ugljen gave through his 28 projects for 29 religious buildings. Considering that Ugljen's work in religious architecture is, regardless of this fact, underrepresented in professional and scientific journals, the primary goal of this doctoral dissertation is to consolidate, analyze and evaluate Ugljen's realized and unrealized sacral projects. One of the objectives of this paper is to present them and place them into the context of both the world and regional architectural frameworks in order to get a clearer picture of the author's contribution and significance in contemporary architecture of Bosnia and Herzegovina. The intention of this paper is, inter alia, to systematize Ugljen's sacral oeuvre in chronological terms, then to research and analyse the documentation that is available concerning his sacral projects, as well as the articles published on those projects, and to offer an interpretation of the design features and point out to different circumstances and needs in which those designs were developed. Ultimately, the aim of the dissertation is to lay foundations for stylistic distinction between modernism and postmodernism in Ugljen's oeuvre, and to point out to significant influence of critical regionalism on his creative work . In the broad sense, the dissertation analyzes modern and postmodern religious architecture in Bosnia and Herzegovina (Catholic and Islamic) in social and political contexts that influenced its development, construction and deterioration. The dissertation is structured around a thematic-chronological framework. It is composed of an introduction, six sections and a conclusion. The introduction, set as the first section, is followed by the second section with a historical overview of modern architecture in Bosnia and Herzegovina and the region in the 20th century. The historical overview opens with an analysis of the development of the Bosnian style at the beginning of the 20th century, which marked the birth of modernism, the protagonists of which influenced Ugljen's understanding and creation of architecture. Furthermore, a brief insight follows into the history of architecture in Bosnia and Herzegovina between the two world wars. This period is presented more broadly in theoretical terms through the analysis of the history of architecture in Europe in the 1920s and 1930s through an overview of developments in architecture in the Kingdom of Serbs, Croats and Slovenes, respectfully, the Kingdom of Yugoslavia in that period. After overview of the European and regional architectural scene, special attention is devoted to the history of the architecture in Bosnia and Herzegovina between the two world wars, with information on the most important architects, buildings and stylistic features, followed by an insight into history of architecture in Bosnia and Herzegovina after the World War II. Considering that development of the prewar architecture was heavily influenced by the world and regional ideological and stylistic tendencies, this section focuses primarily on the world's most important theoretical guidelines, stylistic tendencies and architects. In the third section, the social and political events after the World War II in Yugoslavia and Bosnia and Herzegovina are discussed, because they directly affected the position of the Islamic Community and the Catholic Church, which commissioned Ugljen's projects. Furthermore, the dissertation provides an insight into the position of the Islamic Community and the construction of Islamic religious buildings in Bosnia and Herzegovina from the end of the World War II to the present, considering that the position of the Islamic Community directly and indirectly defined the conditions for designing mosques. Before moving to the analysis of stylistic features of the mosques in that period, the dissertation lists the ideas and guidelines for the construction of modern mosques in the second half of the 20th century in the world. The fourth section describes and analyzes Zlatko Ugljen’s life and career, followed by description and interpretation of his sacral projects. Sections 5 and 6 elaborate on the projects for realized and unrealized religious buildings of Zlatko Ugljen following the same methodological approach, meaning that projects are analyzed chronologically, by the year of their creation, divided along the two phases: projects made in the 20th century (Section 4) and those made in the 21st century (Section 5). The sixth thematic unit applies the same approach and deals with the projects created in the 21st century, when the architect in some works moved away from modernism as a stylistic expression and adopted contemporary stylistic tendencies following the idea of critical regionalism. After the analysis and interpretation of the design features of the religious buildings, the Section 7 focuses on the specifics of the stylistic expression of Zlatko Ugljen, analyzing the sources of Ugljen's specific architectural expression, which synthesizes modernism, as a basic stylistic starting-point, postmodernism and the influence of traditional architecture through the theoretical guidelines of critical regionalism. Furthermore, the sources and features of Ugljen's sacral opus are explained, taking into consideration the stylistic genesis and influences in his work, resulting in an analysis of the design features of the religious buildings. Considering that co-authoring was an important segment of Ugljen’s career, the paper also elaborates on his associates/co-authors and their influence on each other. The interiors for churches, the use of symbols and iconography, the treatment of the climate interrelation, the choice of materials and spatial concepts were also analyzed. The time determinant as a parameter according to which the sacral projects were analyzed was derived from the stylistic features of Ugljen’s projects. They were analyzed with regard to the placement of the realized or unrealized facility in a certain environment, the analysis being supported with an explanation of the needs and reasons for which the facilities were designed, as well as the historical context in which they were built or should have been built. In addition, Ugljen’s sacral projects are placed within the framework of religious architecture in BiH. This content is additionally enriched with excerpts from interviews with Ugljen's most important associates and co-authors (Nina Ugljen Ademović, Branko Tadić, Husejn Dropić and Fr. Marko Karamatić). The research is based on the heterogeneous materials, such as: encyclopedias, books, archival and project documentation, critical reviews, newsletters, notes, interviews, newspaper articles and photo-documentation, taken from the Archives of the Episcopal Ordinariate in Mostar, Franciscan Library in Mostar, Historical Archives in Sarajevo, Archives of the Riyasat of the Islamic Community in Sarajevo, the Matica Srpska Library in Novi Sad, the National and University Library in Zagreb and the City Library in Mostar. Significant documents were provided by the Archives of the Behram-Bey’s Madrasa and the Islamic Center in Tuzla, as well as by the Franciscan Parish Archives in Tuzla, Žeravac and Zabilje. These archives contain various documents that helped us to get more information and a better understanding of the processes of creation and construction of the facilities: conceptual or detailed design projects, work diaries, tenders, contracts, opinions of commissions, changes, offers, invoices and sketches. Design sheets for churches and mosques built before the 1990s, with the exception of St. Peter and Paul’s Church in Tuzla, are not available any more, as they were mostly destroyed during the war. The completeness of the processing of the material was affected by the fact that certain documentation was nonexistent, because if it had been available, it could have significantly supported the precise analysis of the proportions and other constructive values of these realized objects and thus contributed to the formal analysis of Ugljen's religious projects. The description and analysis of the construction of Ugljen's sacral projects presented in this paper, relying on projects and personal insights from the field research, can help further evaluation and research of his work in the future. Ugljen has won numerous domestic and international awards and some of its sacral buildings can be found in world-renowned publications on this topic. The religious architecture of Zlatko Ugljen belongs to the most praised, but also the most disputed parts of his work. Religious projects, built during the six-decade long creative period of Zlatko Ugljen, had different fates: two buildings were left unfinished, one was destroyed in the war, eighteen were realized, whereas eight projects remained unrealized. Thus, Ugljen's sacral opus is not large, but viewed within the history of contemporary architecture of Bosnia and Herzegovina, it has attracted the greatest interest of the world and regional public.

The aim of this paper is to reflect on some of the current trends in Portuguese illustration for children, focusing on an intertextual reading of the picturebooks written and illustrated by Manuela Bacelar, as a precursor in the creation of this kind of book in Portugal. Based on the discursive interdependence of text and illustrations, stylistic and technical-narrative procedures are observed, in necessary articulation with the visual/graphic and material/peritextual aspects. The potential of these aspects is highlighted in the composition of the work and in the construction of its multiple semiosis. The interdependence of text and illustrations poses specific requirements in the process of reading and has an impact on the formation of competent and autonomous readers. Relying on modern literary currents to be found in a postmodernist aesthetic, this paper examines the corpus, from both a technical and compositional point of view, seeking to investigate some of the traits and formal rhetorical, stylistic and thematic resources that distinguish the work of this awarded artist., Novi izazovi portugalske ilustracije za djecu: intertekstualnost i višemodalnost se stilski i pripovjedni postupci u nužnoj artikulaciji s vizualno/grafičkim i materijalno/ peritekstualnim aspektima. Ističe se njihov potencijal u kompoziciji djela i izgradnji njegove višestruke semioze te se donose zaključci o zahtjevima u pogledu čitanja, kao i utjecaju na stvaranje kompetentnih i autonomnih čitatelja. U osloncu na moderna književna strujanja u postmodernističkoj estetici, ovaj rad razmatra slikovnice kako s tehničke tako i s kompozicijske točke gledišta te prikazuje neke od formalnih retoričkih, stilskih i tematskih značajki opusa spomenute nagrađivane umjetnice.

Tema ovog završnog rada jeste opus arhitektice Zahe Hadid i njene kompanije Zaha Hadid Architects, također istražuje arhitekturu postmodernizma . Kroz ovaj rad opisuje se povezanost između arhitekture i modnog dizajna, zatim njihov međusobni utjecaj. Izdvojeno je nekoliko modnih dizajnera koji su inspirirani elementima arhitekture u svojem radu. Osim arhitekture Zahe Hadid opisan je i njen rad u svijetu mode. Završni rad sadrži modnu kolekciju inspiriranu arhitekturom Zahe Hadid., The subject of this final thesis is the work of the architect Zaha Hadid and her company Zaha Hadid Architects, it also explores the architecture of postmodernism. This paper describes the connection between architecture and fashion design, and their mutual influence. Several fashion designers were singled out who were inspired by elements of architecture in their work. In addition to Zaha Hadid's architecture, her work in the world of fashion is also described. The final work features a fashion collection inspired by the architecture of Zaha Hadid.

U ovome radu, na primjeru pjesništva Branka Čegeca prikazana je estetika videospota u poeziji hrvatskog pjesništva iskustva jezika. Prikaz podrazumijeva teorijski dio i analizu predložaka koji signiraju jezik videospota, a sama poezija Branka Čegeca, nastajala kroz tri desetljeća dvadesetoga stoljeća te u dvadesetprvom stoljeću, predstavlja kao takva postmodernističku poetiku. Upravo naziv „pjesništvo iskustva jezika“ signalizira kako se radi o pjesništvu čije je glavno obilježje jezična mogućnost te se rad bavi i drugojezičnim naznakama u pjesničkome tekstu, prije svega videospotovskim. U radu se polazi od pojedinačnih teorijskih definicija intermedijalnosti, medija, postmodernizma te definicija videspota i njegove pojavnosti u kontekstu medijskog utjecaja. Analize u radu opisuju kodove videspota pronađenih u Čegecovim pjesmama te je sama analiza dopunjena već ustanovljenim literaturnim određenjima.

Rad istražuje model društvenosti, interakcije i participacije kao političke elemente postmoderne umjetnosti. Postmoderno stanje nastupa nakon propasti glavne ideje modernizma, što se temelji na vjeri u napredak i emancipaciju čovječanstva odnosno nakon kraha velikih spekulativnih pripovijesti poput idealizma, scijentizma, marksizma ili utopije o promjeni svijeta pomoću umjetnosti. Otuda se kao opće mjesto nadaje teza da umjetnost nema više onu ulogu kakva joj se pripisivala od XIX. stoljeća nadalje, kao što je politička borba, kritika društva ili socijalni angažman, odnosno da više nema funkciju kritike, onoga što upozorava i što se avangardno suprotstavlja svemu postojećem. Nasuprot takvom stavu, rad nastoji podastrijeti kritički i politički potencijal postmoderne umjetnosti, pri čemu se usmjerava na umjetničku praksu nakon 1990-ih te njezino isticanje relacija, susreta i interakcije s publikom. Riječ je o aproprijaciji avangardnih strategija, ali s povijesnim odmakom i drukčijim kontekstom., The paper explores the model of sociability, interaction and participation as political elements of postmodern art. The postmodern condition emerged after the failure of the main idea of modernism, which was based on the belief in the progress and emancipation of humanity, namely, after the collapse of large speculative narratives such as idealism, scientism, Marxism or a utopia of changing the world through art. Not surprisingly, therefore, the principal thesis in it is that art no longer has the role attributed to it since the 19th century, the one of political struggle, criticism of society or social engagement, namely, it no longer has the function of criticism, of something that acts as a warning and is avant-gardly opposed to everything that exists. Contrary to this view, this paper seeks to present the critical and political potential of postmodern art, focusing on post-1990s artistic practice and its emphasis on relationships, encounters and interaction with audiences. It is an appropriation of avant-garde strategies, but with a historical distance and in a different context.

Razvoj modernih gradova tijekom druge polovice u 19. stoljeću prouzrokovao je podosta promjena, a u književnosti se odrazilo u pojavi velikoga broja novih tema i motiva. Upravo pojam flanera i flanerizma (franc. flâneur), prvenstveno vezani uz prostore grada i gradskih ulica, proizvodi su nove moderne književne prakse. Figura dokoličara-promatrača te flanerizam, koji je u hrvatskoj književnosti nominalno započeo s Matošem, nakon Matoševa se života, što je vidljivo kroz povijest novije hrvatske književnosti, počeo intenzivnije ispisivati. Tako u suvremenoj književnosti imamo flanerističke motive i flanerističke prakse čije promjene u odnosu spram inicijalnoga tipa flanerije, dakle one kakvu je uveo Antun Gustav Matoš, odražavaju temeljne promjene u kategorijama društvenoga poretka, svakodnevice, urbanosti. Uz praćenje razvojne crte flanerističke prakse, u radu se usporedno analiziraju i intertekstualni i intermedijalni postupci. Spomenuti odmak od inicijalnoga tipa flanerije pokušava se detektirati u zbirkama Ekrani praznine (1992) te Tamno mjesto (2005), postmodernoga književnika Branka Čegeca. U svojoj knjizi Čitanje grada Krešimir će Nemec (2010: 86), komentirajući Matoševo široko određenje onoga što flanerija jest, istaknuti: „Da je doživio današnje vrijeme elektronike i virtualne zbilje, Matoš bi vjerojatno i neumorne »surfere« po bespućima interneta nazvao »elektroničkim flanerima«“. Prema tome vidjeti nam je pristaje li Matoševa sintagma elektronički flaner Čegecovim spomenutim dvjema zbirkama.

Cilj je ovoga rada opisati vezu među poezijom Branka Čegeca, filma Quentina Tarantina i romana Tomislava Zajeca. Odabrani predlošci iz Čegecove poezije dovedeni su u vezu s filmom Quentina Tarantina Pulp Fiction i Zajecovim romanom Soba za razbijanje. U radu je poseban naglasak stavljen na pojavu intermedijalnosti kao glavne karakteristike postmodernizma te se na samom kraju rada koristi kao glavna poveznica među analiziranim predlošcima. Rad započinje definiranjem pojma intermedijalnosti u književnosti i filmu te prati teoriju lirske pjesme i teoriju filma kako bi se lakše odredilo što će se točno analizirati na pojedinim predlošcima. Nadalje slijede analize predložaka iz Čegecove poezije, zatim Tarantinova filma Pulp Fiction i na kraju analiza Zajecova romana Soba za razbijanje. Nakon pojedinačne analize predložaka dolazi usporedba triju autora i njihovih djela. Sva tri djela promatrana su intermedijalno što je dodatno opisano u zaključku. Na kraju rada, nakon izvedenog zaključka, nalazi se popis korištene literature.

U ovom radu razmotrit ćemo turbofolk kao postmoderni fenomen. Opisat ćemo osnovna obilježja postmodernizma i dati njegovu definiciju uz poseban naglasak na važnosti popularne kulture i masovnih medija u kontekstu postmoderne umjetničke produkcije. Osvrnut ćemo se posebno na ulogu masovnih medija u popularizaciji turbofolka. Zatim ćemo se pozabaviti nastankom i razvojem turbofolka. Proučit ćemo njegove korijene u "novokomponovanoj narodnoj muzici", kao i scenske identitete pjevačica na nekoliko primjera. Opisat ćemo društvenu i kulturnu klimu u Srbiji devedesetih godina, za vrijeme nastanka turbofolka, kao i povezanost turbofolk scene s beogradskim kriminalnim miljeom i onodobnim vladajućim režimom. Dotaknut ćemo se i ideološke prtljage tog muzičkog žanra koja prvenstveno izrasta iz njegove bliskosti nacionalističkom diskurzu. U poglavlju “Feminističko čitanje turbofolka i njegov subverzivni potencijal” ponudit ćemo uvide iz tekstova nekoliko istaknutih teoretičarki na temu seksualiziranosti tijela (ženske) turbo-folk zvijezde kao i njegovom kiborg-varijantom koja postaje sve prisutnija od početka novog milenija. Bit će riječi i o tome kako pjevačice, odnosno turbofolk zvijezde, u svojim tekstovima, na sceni i u intervjuima perpetuiraju problematične obrasce u suštini strogo patrijarhalnog srpskog društva. Za kraj razmotrit ćemo gdje se unutar turbofolka kao postmodernog fenomena pojavljuje eventualni subverzivni potencijal. Na posljetku ponudit ćemo odgovor na pitanje zašto turbofolk ne ostvaruje svoj subverzivni potencijal? In this paper, we will consider turbofolk as a postmodern phenomenon. We will describe the basic characteristics of postmodernism and offer its definition with special emphasis on the importance of popular culture and mass media in the context of postmodern artistic production. We will look specifically at the role of the mass media in the popularization of turbofolk. Then we will deal with the origin and development of turbofolk. We will study its roots in "newly composed folk music", as well as the stage identities of female singers on several examples. We will describe the social and cultural climate in Serbia in the 1990s, during the emergence of turbofolk, as well as the connection of the turbofolk scene with the Belgrade criminal milieu and the ruling regime at the time. We will also touch on the ideological baggage of that musical genre, which primarily connected to its closeness to nationalist discourse. In the chapter "Feminist reading of turbofolk and its subversive potential", we will offer insights from the texts of several prominent theoreticians on the subject of the sexualization of the (female) turbo-folk star's body, as well as its cyborg-variant, which has become more and more present since the beginning of the new millennium. It will also be discussed how female singers, i.e. turbofolk stars, in their lyrics, on stage and in interviews, perpetuate the problematic patterns of the essentially strictly patriarchal Serbian society. Finally, we will consider where possible subversive potential appears within turbofolk as a postmodern phenomenon. Finally, we will offer an answer to the question why turbofolk does not realize its subversive potential?

Završni rad je posvećen analizi dekonstrukcije sovjetskog mita o svemiru u pripovijesti Omon Ra Viktora Pelevina. Koristeći razne postmodernističke tehnike, Pelevin parodira sovjetska postignuća u svemiru i kritizira različite aspekte sovjetske prošlosti. Na primjeru glavnog junaka, koji je cijeli život okružen simulakrumima, Pelevin pokazuje kako kultura socrealizma i totalitarni sustav manipuliraju ljudima i uništavaju individualnost. Ključni trenutak pripovijesti je spoznaja glavnog junaka da su svi letovi na Mjesec prijevara, a žrtve sovjetskih junaka uzaludne. Stoga, diskreditirajući svemirske uspjehe Sovjetskoga Saveza, Pelevin kritizira komunistički režim i njegove vrijednosti.

Tijekom svoje povijesti esej je često tumačen kao oblik kojeg karakterizira neka vrsta formalne i idejne otvorenosti te otpora prema misaonoj sistematizaciji i završenosti. Dugotrajne rasprave vezane uz definiciju eseja kao žanra te često dijametralno različiti teorijski zaključci vezani uz njegov potencijal (npr. Lukácsevo hegelijanstvo u odnosu na Adornovu antisustavnu utopiju) navode nas na pretpostavku o bitnim razlikama među subjektima koji se pojavljuju tijekom povijesti esejističkoga diskursa. U prvome dijelu rada pokušali smo teorijski definirati te razlike otvarajući neka od ključnih pitanja vezana uz esej kao žanr: Možemo li izdvojiti posebnosti esejističkoga subjekta u odnosu na druge književne vrste? Kakav je status istine u eseju? Zaključili smo, na temelju tekstova Milivoja Solara i Branislava Oblučara (ali i drugih teoretičara eseja), kako je esejistički subjekt definiran specifičnim spoznajnim interesom koji se opire sustavnosti, cjelovitosti i konačnim definicijama te se kao takav nalazi u posebnom odnosu prema kulturnim i znanstvenim kretanjima koje smo pokušali opisati koristeći se konceptom post/modernosti. U drugome dijelu rada pokušali smo status esejističkoga subjekta opisan u prvome dijelu promotriti u odnosu na konkretne primjere iz hrvatske esejističke prakse (riječ je o tekstovima Tina Ujevića, Danijela Dragojevića, Vlade Gotovca te Dubravke Ugrešić). „Modernistički“ i „postmodernistički subjekt“ kao konstrukti opisani/stvoreni u prvome dijelu rada pomogli su nam da esejističke subjekte spomenutih autora lakše opišemo pri čemu smo npr. u Ujevićeva subjekta uočili više modernističkih elemenata (introspekcijsku inačicu „potrage“, elemente modernističkoga Bildunga, obilježja esteticizma itd.), dok smo u subjekta Dubravke Ugrešić uočili veći broj postmodernističkih crta (metatekstualnost, ohrabrivanje fluidnosti identiteta, naglašavanje ludičke funkcije teksta, eklekticizam itd.). Zaključili smo kako se u analizi esejističkoga subjekta mogu primijeniti mnoge kategorije kojima se služimo u pristupu ostalim literarnim (prvenstveno proznim) vrstama pri čemu posebnost esejističkoga subjekta često dovodi do diskursa u kojemu se jasnije ocrtavaju obilježja koja pronalazimo u ostalim vrstama. Throughout its history, the essay has often been interpreted as a form characterized by formal and conceptual openness and resistance to thought systematization and completion. Prolonged debates related to the definition of the essay as a genre and often diametrically different theoretical conclusions related to its potential (e.g. Lukács's Hegelianism in relation to Adorno's anti-systemic utopia) lead us to assume important differences between the subjects that appear during the history of the essay discourse. In the first part of the thesis, we tried to theoretically define these differences, opening up some of the key questions related to the essay as a genre: Can we single out the peculiarities of essayistic subjectivity in relation to other literary genres? How to describe the status of truth in an essay? We concluded, based on the texts of Milivoj Solar and Branislav Oblučar (as well as other theorists), that essayistic subjectivity is defined by a specific scientific/philosophical interest that resists systematicity, completeness, and strict definitions, and as such is characterized by a specific relation to cultural and scientific movements that we tried to describe using the concept of post/modernity. In the second part of the thesis, we tried to examine the status of the essayistic subjectivity in relation to specific texts by Croatian essayists (Tin Ujević, Danijel Dragojević, Vlado Gotovac, and Dubravka Ugrešić). "Modernist" and "postmodernist subjectivity", constructs we described/created in the first part of the thesis, helped us to depict the essayistic subjectivity of the mentioned authors more easily, whereby we noticed, for example, more modernist elements in Ujević's subject (an introspective version of the "quest", elements of modernist Bildung, features of aestheticism, etc.), while in the subject of Dubravka Ugrešić's essays we noticed a greater number of postmodernist features (metatextuality, encouraging the fluidity of identity, emphasizing the ludic function of the text, eclecticism, etc.). We concluded that in the analysis of the essayistic subjectivity, many categories can be applied that are used in the approach to other literary (primarily prose) genres, whereby the particularity of the essayistic subjectivity often leads to a discourse in which the characteristics found in other genres are more clearly outlined.

Za vrijeme drugog vala feminizma 70.-ih godina 20. stoljeća mnoge feministice su se okrenule ručnom radu u kojem su prepoznale zabilježenu povijest, kreativno stvaralaštvo i subverzivnu moć žena iz prošlosti. U skladu s time, većina kritičarki se složila da ono veoma dobro predstavlja estetiku ženskog stvaralaštva, odnosno pisanja koje je višedimenzionalno i rascjepkano te samim time se suprotstavlja tradicionalnim konvencijama centralnog, jednodimenzionalnog i linearnog pisanja koje prepoznajemo u zapadnom kanonu gdje su prevladavali muškarci. U navedenom kontekstu, analiziraju se dva romana kanadske spisateljice Margaret Atwood Alias Grace i Penelopeja koji se bave temama šivanja, ali i rekonstrukcije ženske prošlosti gdje se marginalizirani i izgubljeni glasovi vraćaju ženama. Koristeći šivanje kao model za metanaraciju gdje nam je priča ispričana iz više perspektiva (u kojima jedna verzija pobija drugu), s pomoću različitih žanrova i vrsta tekstova, kao i povezivanjem simbolike šivanja s pripovijedanjem u svrhu obmane – praksom koja se najčešće pripisuje ženama, Atwood se ovdje poigrava sa slikom žene kao žrtve patrijarhalnog društva ili kao proračunate spletkarice koja glumi žrtvu. Na kraju autoričine navedene postupke nesumnjivo prepoznajemo kao obilježja postmodernističkog pisanja gdje se preispituju tradicionalne konvencije pisanja kao i koncept univerzalne istine koju pronalazimo u zapadnom diskursu. During the second wave of feminism in the 1970s, many feminists turned to quilt in which they recognized the recorded history, creative output, and subversive power of women from the past. Accordingly, most critics agreed that it very well represents the aesthetics of women's creativity, i.e. writing that is multidimensional and fragmented, thus opposing the traditional conventions of central, one-dimensional, and linear writing that we recognize in the Western canon where men prevailed. In this context, two novels by the Canadian writer Margaret Atwood, Alias Grace, and The Penelopiad, are analyzed, which deal with quilting themes and the reconstruction of women's past, where marginalized and lost voices are returned to women. By using quilting as a model for a metanarrative where the story is told from multiple perspectives (where one version refutes another), different genres and types of texts, as well as connecting the symbolism of sewing with storytelling for deception - a practice most often attributed to women, Atwood here plays with the image of a woman as a victim of a patriarchal society or as a calculating schemer who plays the victim. In the end, we undoubtedly recognize the author's stated actions as features of postmodernist writing, where traditional conventions of writing are questioned, as well as the concept of universal truth found in Western discourse.

The process of secularization, known as the process of the privatization of religion or its denial from the public square, is a heritage of Modernity. This reality had (and continues to have) important consequences for Christian theology. Hence, the renewal of Christian theology is urgent, and has a lot at stake, especially regarding the need for a renewed Christian message within contemporary society. Though public theology appeared as a normal consequence of the need for the renewal of Christian theology, this renewal is not necessarily present in many of its methods. The rigidity of both of its theological methods and language remains a problem for public theology. This article suggests that the new shift in anthropology should be taken into consideration when constructing a viable public theology nowadays. The category of “religious imagination” is of utmost importance since it takes into consideration the new definition of the human being, which is in line more with postmodernism than modernity. Thus, the article sketches the possible substantial contribution the religious imagination brings towards the revitalization of contemporary public theology. Moreover, the article mentions recent Romanian studies on the imagination, which stresses, even more, the richness hidden within it and its possible usage for the construction of a viable public theology.

Tema završnoga rada je analiza dekonstrukcije sovjetskih mitova u kratkoj priči Vijesti iz Nepala Viktora Pelevina. Cilj je rada pronaći i analizirati postmodernističke postulate kojima Pelevin dekonstruira sovjetske mitove o svijetloj budućnosti i o radu. Dok se zapadni postmodernizam oslanja na popularnu kulturu, ruski se razvija u teškim uvjetima socijalističkog realizma, u društvu gdje je vlast nametala totalitarnu ideologiju kroz književnost i kulturu socrealizma. Upravo zato ruski postmodernizam demitologizira, dekanonizira, deideologizira i dekonstruira sve vrijednosti komunističkog režima i njegove poetike – socrealizma.

Ovaj članak istražuje mogućnosti postmoderne feminističke teorije stajališta kao jedne od prominentnijih feminističkih epistemologija. Iznosimo kontekst ove epistemologije, ističući važnost uspostave klasifikacije feminističke epistemologije koja prepoznaje postmodernizam kao integralni dio feminističkog empirizma i feminističke teorije stajališta. Analiziramo osnovne teze feminističke teorije stajališta iz postmoderne perspektive, naglašavajući diskurzivnu narav društvene stvarnosti. Istražujemo političke mogućnosti ove epistemologije, ukazujući na potrebu drugačijeg shvaćanja političkog subjekta. Subjekt razumijevamo kao konstituiran, ali ne i determiniran, diskursom. Sukladno tome, propitujemo važnost zadržavanja različitih preddiskurzivnih uporišta feminističke politike. Postmoderno feminističko stajalište shvaćamo kao određenu vrstu diskursa, pri čemu ističemo manjkavost razlikovanja između diskursa i materijalne stvarnosti. Razumijevanje vlastite društvene smještenosti identificiramo kao glavni cilj postmoderne feminističke teorije stajališta.

Povijest Našica može se pratiti od 13. stoljeća, odnosno od prvog spomena grada, a do dolaska obitelji Pejačević u 18. stoljeću ključnu ulogu u razvoju grada imali su franjevci koji su u središtu mjesta podigli crkvu sa samostanom oko koje je započelo formiranje trga ljevkastog oblika na kojemu je započela izgradnja najprije trošnih kuća od slabih materijala, a kasnije i onih od čvršćih materijala. Uz franjevce, veliki značaj imala je i obitelj Aba koja je poticala naseljavanje ljudi iz raznih krajeva koji su potom kroz razvoj trgovine i obrta pridonosili i razvoju samoga grada. Za prodora Turaka, pod čijom su vlašću Našice bile 155 godina, bio je prekinut daljnji gospodarski razvoj grada. Nedugo nakon uspostavljanja habsburške vlasti, našički posjed dolazi u vlasništvo obitelj Pejačević i tada započinje novo razdoblje koje je obilježeno intenzivnom izgradnjom u 19. stoljeću koja se kasnije nastavila još intenzivnije i kroz cijelo 20. stoljeće. U 19. stoljeću započinje razvoj Našica kao trgovišta kroz doseljavanje brojnih trgovaca i obrtnika među kojima su se posebno isticali Židovi koji su uz gradnju stambenih i stambeno-poslovnih objekata dali podići i jednu od najljepših sinagoga u Hrvatskoj. Na potezu od novoizgrađenog dvorca obitelji Pejačević do franjevačke crkve i samostana grade se prizemnice i jednokatnice javne i stambeno-poslovne namjene u historicističkom stilu. Osim u užem centru grada, cijeli niz historicističkih objekata izgrađen je u tada najstarijim ulicama koje danas nose naziv Ulica J. J. Strossmayera, Ulica kralja Tomislava te Ulica braće Radića. U 20. stoljeću dolazi do najvećih promjena u Našicama, i u urbanom razvitku i u arhitekturi. Nakon Drugog svjetskog rata izgrađen je velik broj javnih i stambenih objekata u samom centru grada, ali i šire. Vinogradi i hrastove šume ustupaju mjesto novim ulicama, dok se najstarije ulice dalje proširuju. Glavni našički trg polako dobiva svoje današnje lice izgradnjom zgrade Gradske uprave i Policijske postaje, Kreditne banke, robne kuće te novog hotela „Park“. Od ostalih javnih građevina svakako valja spomenuti i novu osnovnu i srednju školu u Ulici Augusta Cesarca, novi dječji vrtić, dom zdravlja, bolnicu, poštu, šumariju, veterinarsku stanicu te novu zgradu željezničkog kolodvora. Uz snažnu stambenu izgradnju u periodu nakon Drugog svjetskog rata grad Našice preoblikovan je u potpuno funkcionalan grad intenzivnog razvoja koji se nastavlja sve do danas. The history of Našice dates back to the 13th century – that is, to the town’s first mention. Up until the arrival of the Pejačević family in the 18th century, the Franciscans played a key role in the town’s development – they built a church with a monastery in the town center around which a funnel-shaped square started developing. The first houses erected around the square were dilapidated, built with weak and inferior materials, with the solid material houses appearing later on. Besides the Franciscans, the Aba family was of great importance to the town – they encouraged the immigration of people from all over the region, which in turn prompted the development of trade and crafts, that way contributing to the general development of the town. During the Ottoman invasion (Našice had been under their authority for 155 years) further economic development of the town was interrupted. Not long after the establishment of Habsburg rule Našice became a property of the Pejačević family. It was a period characterized by intensive construction development in the 19th century, and an even more intensive one in the 20th century. In the 19th century, Našice began developing as a market town, assisted by the immigration of primarily Jewish merchants and craftsmen which, in addition to building many residential and commercial establishments, erected one of the most lavish synagogues in Croatia. During that time, many single-story public, residential and commercial Historicist houses were constructed in the area stretching from the newly-built Pejačević castle to the Franciscan church and monastery. A series of Historicist buildings was erected not only in the very center of the town, but on its oldest streets as well – today they are called the Josip Juraj Strossmayer Street, King Tomislav Street and Radić Brothers Street. The 20th century brings about the biggest changes in Našice, both in urban development as well as architecture. After World War II, a large number of public and residential buildings was erected in the town center as well the surrounding areas. Vineyards and oak forests gave way to new streets while the older ones were expanded. With the construction of the town hall, the police station, the bank, the department store and the new hotel “Park”, the main square of Našice slowly assumed its current look. Among other things, it is worth mentioning the construction of a new elementary and high school in August Cesarec Street, a new kindergarten, a community health center, a hospital, a post office, a forestry, a veterinary clinic and a new train station building. Thanks to intensive residential construction after World War II, the town of Našice has been reshaped into an entirely functional town with its development continuing to this day.