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Cilj ovog rada je istražiti i demonstrirati postojanje arhetipa Dafne predstavljenog u Ovidijevom djelu Metamorfoze utjelovljenom u liku Kaguyahime iz japanskog autohtonog žanra monogatari Priča o sjekaču bambusa (Taketori Monogatari). Akteri ovog rada uspoređuju se i analiziraju usredotočujući se prvenstveno na izvorne tekstove s dodatnim književnim i kulturnim interpretacijama. Postoje motivske i narativne sličnosti, posebno u zajedničkom elementu metamorfoze, nakon čega slijedi zajednička snažna uloga Mjeseca kao ženskog simbola za razliku od sličnog agresivnog ponašanja muških likova Apolona i cara, obojice povezanih sa simbolikom Sunca. Provedena usporedba pokazuje nam sličnosti pripovijesti i likova Dafne i Kaguyahime očitovane kroz individualnu pobunu protiv nametnutih autoritativnih muških figura i bračnih vrijednosti društva. Zaključuje se kako je glavni dokaz postojanja arhetipa Dafne u zajedničkom motivu metamorfoze, njenom povodu i posljedicama. Metamorfoze su potaknute nasilnim muškim pristupom i vode do tjelesnih transformacija ženskih junakinja koje su muške likove navele na unutarnju transformaciju. The aim of this paper is to demonstrate the existence of the Daphne archetype represented in Ovid’s Metamorphosis in context of the character Kaguyahime from the Japanese ancient monogatari piece The Tale of the Bamboo Cutter (Taketori Monogatari). The subjects of this study are compared and analyzed, focusing primarily on the source texts with additional literary and cultural interpretations. There are motif and narrative similarities especially in the element of mutual metamorphosis, observable in the role of strong feminine symbolism (lunar) in contrast to the aggressive (solar) behavior of the male characters of Apollo and the Emperor. The comparison shows us the resemblance between family stories and character traits of Daphne and Kaguyahime, manifested through individual rebellion against imposed authoritative male figures and the marriage values of the society. In conclusion, we can observe the Daphne archetype in the motif of the metamorphosis of Kaguyahime, its cause and consequences. In the texts, violent masculinity initiates the physical transformation of the female heroines, which in turn compel the male characters towards an inner transformation.

Izlaganje razmatra suštinski odnos filozofije i glazbe u njihovom zajedničkom podrijetlu i izvornosti, otkrivajući ga u svojoj očiglednosti koji, zbog toga, ostaje i dalje prekrasan u svojoj suštini i nadasve tajanstven. Taj je odnos ‘dobro’ sačuvan u svim ritmičkim elementima poezije, plesa i glazbe, posebice metrike antičke kulture. Nit vodilja ovog izlaganja je promišljanje o glazbi kroz filozofske načine, i to one kroz koje se filozofski može misliti i o izvornoj filozofiji. Odgovor do kojeg se tu dolazi neminovno se iznova pretvara u postavljanje novih pitanja. Radi se, dakle, o ‘igri’ koja se danas nastavlja ponovnim vraćanjem na prvotno, izvorno pitanje. Jer kako kazuje Heinrich Heine: „I ne završavamo upitati se, opet i opet, dok pregršt zemlje nam ne zatvori usta. Ali i to je odgovor”., The presentation exposes the essential relationship between philosophy and music in their common origin, uncovering it in its obviousness, and which, for this reason, remains beautiful in its essence and all the more, mysterious. This relationship is well preserved in all rhythmic elements of poetry, especially in the metric of ancient culture. My aim will be to think about music in philosophical terms, in the same way we can think about the original philosophy. You can conceive this thought process as a ‘game’ which nowadays continues by going back to the same questioning. A game in which every possible answer ends up generating new questions. Because, as Heinrich Heine puts it, “So we keep asking, over and over / until a handful of earth / stops our mouths- / but is that an answer?”

Ulomak mramornog reljefa iz Arheološkog muzeja Istre sa sakralnom povorkom promatra se u svjetlu svojih arhaiziranih karakteristika. Navode se neki najpoznatiji arhaizirani reljefi kasnohelenističkog i rimskog ranocarskog razdoblja koji bi zbog bolje sačuvanosti mogli pružiti više podataka za pokušaj interpretacije i rekonstrukcije reljefa. Gotovo identičan arhaizirani nacrt i kompozicija javljaju se na mramornom polucilindričnom žrtveniku s povorkom bogova iz Akcijske memorijalne građevine Oktavijana Augusta kod Nikopolisa. Iznosi se prijedlog rekonstrukcije reljefa iz muzeja u Puli čiji sačuvani ulomak prikazuje Letu i Artemidu s jelenom, prema modelu žrtvenika iz Oktavijanove memorijalne građevine. Analizira se ikonografsko značenje prikaza i njegov mogući smještaj u kontekstu rimske Histrije i kolonije Pole., The paper analyzes the fragment of a marble relief held in the Archaeological Museum of Istria. The relief depicting a sacral procession is analyzed in the context of its archaized characteristics. The paper also refers to some of the best known archaized reliefs from the Late Hellenistic and Roman Early Imperial periods that, due to the good condition they are in, could provide additional information that could help interpret and recreate this relief. An almost identical archaized depiction and composition can be seen on a marble semi-cylindrical altar from the Octavian August’s memorial for the Battle of Actium in Nicopolis, depicting a procession of gods. A recreation of the Pula museum relief is proposed. Its preserved fragment shows Leto and Artemis with a deer, modelled on the scene on the altar from Octavian’s memorial. The iconographic meaning of the depiction is analyzed, together with the possibility of locating it to the period of Roman Histria and the colony of Pola.

Pismeni završni rad napisan je na temu izrađenog završnog rada „Apolonovi dvori“ koji je bio inspiriran komadom iz Ovidijevih Metamorfoza. Osobna mašta potpomognuta stihovima iz davnina, prešla je u slikarski rad, kako bih izrazila vlastito divljenje prema prizoru doživljenom kroz Faetonove oči.

Friedrich Nietzsche je vrlo dojmljiva osoba suvremene filozofije. Njegova misao usmjerena je na kritiku europskog čovjeka oblikovanog metafizičkim naslijeđem. S druge strane, on pokušava, u vlastitom suočavanju sa zbiljnošću, donijeti novu perspektivu mišljenja. Ono se u intuitivnom ophođenju sa svijetom želi ozbiljiti po uzoru na umjetnički zadatak. Cilj je filozofa iskristalizirati svoju umjetničku bit, pri čemu stvaralački mora postaviti nove vrijednosti. Iznimna neprozirnost Nietzscheova djela, filozofije koja se više skriva negoli otkriva, onemogućuje sustavni prikaz njegova filozofijskog opusa. Razlog tomu jest Nietzscheov upravo nesustavni i pjesnički neiskaziv odnos sa zbiljnošću u skladu s razmatranjem nemogućnosti njezina oblikovanja pojmovnim kategorijama koje bi se istinito odnosile na njezinu bit. Svjestan nemogućnosti oslonca na metafiziku, kojoj je pripisao jedino moralistički i vrijednosno-sustavni odnos sa svijetom, pokušava Nietzsche iznijeti diskurs budućeg razumijevanja u znaku intuitivnog prepoznavanja i opravdanosti paradoksa koji se nalazi u heraklitovskoj biti života, čime ujedno iznalazi umjetničku potvrdu života kao velebne igre gradeće-razarajućeg pra-temelja., Friedrich Nietzsche is a very impressive figure of modern philosophy. His thought is directed to the critique of the European man shaped by a metaphysical heritage. On the other hand, he tries, in his own confrontation with reality, to bring a new perspective of philosophical thought. In its intuitive approaching of the world it intends to actualize itself as an artistic task. The goal of the philosopher is to crystallize his artistic being wherein he must creatively set new values. The considerable vagueness of Nietzsches’s work, a philosophy that hides more than it reveals, makes it almost impossible to represent his philosophical opus in an organic way. The reason for this is just Nietzsche’s unsystematic and poetically unutterable relation to reality in accordance with the consideration of the impossibility of formulating it in conceptual categories that would really refer to its essence. Aware of the impossibility of relying on metaphysics, to which Nietzsche attributed only a moralistic and value- systematic relationship with the world, he tries to introduce the discourse of future understanding in the form of intuitive recognition and justification of the paradox lying in the heraclitean essence of life, in which he, at the same time, grounds the artistic confirmation of life as a grandiose game of construction and devastation of the primordial ground.

U starom fondu numizmatičke zbirke Arheološkog muzeja u Splitu čuva se grupa - mali skupni nalaz iz Dola na Visu, koji čini pet komada srebrnog novca, hemidrahmi Likijskog saveza. Čine ga emisije novca iz 42. g. pr. Kr. (dva primjerka, jedan za pokrajinu Cragus, a drugi za pokrajinu Masycitus) te one iz 30. do 27. g. pr. Kr. (tri primjerka, svi za pokrajinu Masycitus). Na njima je na aversu prikazana glava Apolona, a na reversu kitara i legenda KP ili ΛΥΚΙΩΝ ΜΑ-Σ ili M-A i još neki znak poput grančice ili krilatog kaduceja. Novac je spremljen u doba Augusta, na prijelazu stare u novu eru., Among the holdings of Split’s Archaeological Museum is a group - a small coin hoard consisting of five hemidrachms of the Lycian League. It was found in the village of Dol, on the island of Vis, near the site of ancient Issa. Two hemidrachms (one for the district of Cragus, and the other for the district of Masycitus) were issued in 42 BC; three hemidrachms (minted for the district of Masycitus) belong to the period between 30 and 27 BC. All of them bear the head of Apollo on the obverse. A cithara within an incuse square, the legends K-P, ΛΥΚΙΩΝ, ΜΑ-Σ, or M-A, and symbols such as a branch or a winged caduceus, are on the reverse. These coins were concealed during the reign of Augustus, between the end of the 1st century BC and the beginning of the 1st century AD.

U članku se obrađuju arhivski zapisi i stari tiskani tekstovi koji se odnose na arheološka istraživanja u Saloni 1805., zbirku trogirske obitelji Garagnin i s tim u vezi nabavu spomenika iz Visa, veliku mramornu skulpturu muškarca odjevena u togu koja se čuva u Arheološkom muzeju u Splitu, zatim kip Apolona koji je bio predmetom polemike između F. Carrare i F. Lanze te torzo mramornoga kipa u sjedećem položaju i torzo Apolona ili Dioniza koji se također nalaze u splitskom Muzeju. Na kraju se iznosi podaci o kući Parać, kasnije Mikelić, koja je možda poslužila don Frani Buliću kao uzor za njegov Tusculum., Based on the archival documents, the paper presents information on archaeological researches performed by Ivan Luka Garagnin in Solin in 1805. Analysed is the Garagnin’s report on the second research campaign, that is related to the drawing of the finds made by the land surveyor, Ivan Danilo, and the list of the artefacts discovered. Presented are comments on some artefacts procured by the Garagnins from Vis, and on an architrave fragment claimed to origin from Vis, but actually being from Solin. Furthermore, analysed is documentation related to the archaeological collection of the Garagnin family of Trogir, and the documents related to the sculpture of Venus discovered in Solin in 1839. From these information it is established that the large sculpture of a man dressed in toga, now in the Archaeological Museum in Split, was found in Solin and that the Garagnins donated it to the Museum. The second part of the paper deals with the Apollo’s torso that made subject of a large polemics between Francesco Carrara and Francesco Lanza. Carrara claimed he had found it in 1846, and Lanza that it had been found by his father Carlo in 1921. Although we are more willing to accept the Carrara’s story, the Lanza’s information cannot be completely denied yet either, as well as the possibility of this being about another torso of a young man kept in the Museum cannot be rejected, too. A decisive role would have the documentation, i.e., drawings of the torso sent by Carrara to the competent authorities immediately after finding the sculpture, that have been sent to Vienna. The third monument dealt in the paper is the torso of a marble seated statue, from the documentation established to have been found in Solin in 1879, entered in the Catalogue B, under the number 7. The fourth monument is the marble torso of Apollo or Dionisius, established to have been found in Solin theatre in 1882, probably originating from the vicinities of the theatre. It is entered in the Catalogue B, under the number 40. Finally, the paper presents information on the house built by Ivan Parać in 1851, southeast of the amphitheatre. In 1878 it became property of Ivan Mikelić, nicknamed Romanjolac. Into the house were built numerous spolia, and it also had a pergola made of Roman columns and capitals. It housed also a tavern, wherefore its picturesqueness and purpose (resting and refreshing) might have influenced Father Frane Bulić about building his Tusculum, as evident from the photographs made before the demolition of the Mikelić house in 1987.

In this paper I set out to provide a close reading of Carroll’s “The Mouse’s Tale” with special focus on parts of the Greek mythologicodramatic tradition. I argue that Carroll’s poem about a trial involving Fury and a Mouse can be traced to two ancient counterparts who partook in the most famous trial in the Greek mythological tradition: the Furies and Apollo., Cilj je rada ponuditi pomno čitanje Carrollove „Mišje priče“, pri čemu se posebna pozornost posvećuje grčkoj mitološko-dramskoj tradiciji. Čitanje polazi od pretpostavke da su sudionici najpoznatijega suđenja antičke grčkomitološke tradicije, Furije i Apolon, preteče likova Furije i Miša koji sudjeluju u suđenju opisanome u Carrollovoj stihovanoj priči., Im Beitrag wird Carrolls „Mausgeschichte“ textnah gelesen, wobei diesbezüglich der Tradition der altgriechischen Mythologie bzw. deren Dramenproduktion besondere Aufmerksamkeit gewidmet wird. Eine solche Lesart geht von der Annahme aus, dass die Teilnehmer an dem bekanntesten Gerichtsfall aus der antiken griechisch-mythologischen Tradition, die Furien und Apollon, Vorbilder für die Gestalten der Furie und der Maus abgeben, die dann an dem in Carrolls Versgeschichte beschriebenen Gerichtsprozess teilnehmen.