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Projekt revitalizacije prostora bivše tvornice Jugovinil u Kaštel Sućurcu ispituje i dokazuje da su urbana okruženja složena i dinamična te da zahtijevaju prilagodljive strategije planiranja koje mogu odgovoriti na promjenjive potrebe i uvjete tijekom vremena. Umjesto propisivanja detaljnog plana primjenjuje se koncept kontrolirane slobode koji teži postizanju ravnoteže između potpune kontrole i kaotičnog, nekontroliranog rasta. Odnosi se na uspostavu strateškog okvira koji daje smjernice i postavlja opće ciljeve za budući prostorni razvoj, istovremeno dopuštajući fleksibilnost i prilagodljivost u specifičnom planu i provedbi projekata. Cilj mu je pronaći ravnotežu između pružanja jasnog smjera i ostavljanja prostora za kreativnost. The revitalization project of the former Jugovinil factory in Kaštel Sućurac examines and proves that urban environments are complex and dynamic and require adaptive planning strategies that can respond to changing needs and conditions over time. Instead of prescribing a detailed plan, the concept of controlled freedom is applied, which strives to achieve a balance between complete control and chaotic, uncontrolled growth. It refers to the establishment of a strategic framework that provides guidance and sets general goals for future spatial development while allowing flexibility and adaptability in the specific plan and implementation of projects. It aims to find a balance between providing clear direction and leaving room for creativity.

Stvaralaštvo intermedijalne umjetnice Brede Beban ovim istraživanjem po prvi put je u cijelosti analizirano, klasificirano i pruža uvid u cijelovitost njezina opusa. Glavna tema rada je analiza njezina umjetničkog djela u kontekstu feminističke i postkolonijalne teorije, u okviru kojih se razmatra konstrukcija identiteta koja se zasniva na performativnosti, a promatra se kroz osobno i postkolonijalno tijelo izvedbe u njezinu umjetničkom djelovanju. Glavni cilj ovoga istraživanja je u cijelosti prikazati, analizirati i teorijski interpretirati stvaralački opus umjetnice Brede Beban, obilježen iskustvom emigracije osobe liminalnog identiteta. Breda Beban u svojim radovima iz pozicije žene, umjetnice, migrantice problematizira suvremene teme kroz prizmu autobiografskog pisma i iskustva migracije i nacionalne (ne)pripadnosti, u kojima su naglašena duhovnost, emocije žaljenja i/ili glorificiranja izgubljenog zavičaja, kao i pripadajući osjećaj marginalnosti proizašlog iz osobnog iskustva migracije. Navedeno implicira formiranje osobitog odnosa prema osobnom i kolektivnom identitetu te njegovoj konstrukciji i izvedbi u čemu značajnu ulogu ima pojam drugosti, kao prihvaćanje realnosti drugoga i poimanje značenja drugoga za umjetnicu osobno. Rad istražuje pitanje performativne konstrukcije identiteta unutar feminističkoga umjetničkog diskursa određenoga geopolitičkom pozicijom izvedbi, što Bredu Beban pozicionira kao umjetnicu koja performativnu konstrukciju identiteta oblikuje i određuje kroz autobiografsko u figuri postkolonijalnog tijela. Temeljen na navedenom, rad je sadržajno podijeljen u dvije cjeline. Prvi dio donosi uvid u život i stvaralaštvo umjetnice i analizu umjetničkih radova Brede Beban metodom analize umjetničkog žanra, gdje se cjelokupno stvaralaštvo analizira kroz tri vremenske cjeline (samostalno umjetničko djelovanje, binarnu poziciju s partnerom Hrvojem Horvatićem i samostalno djelovanje nakon smrti partnera). U drugom dijelu istraživačkog rada polazi se od definiranja stvaralaštva Brede Beban kao feminističke umjetnice koja u svojim radovima problematizira konstrukciju identiteta kroz očište postkolonijalne teorije i sukladnih koncepata („prostor između“, „Treći prostor iskazivanja“, liminalnost i dr.). Završni dio rada bavi se daljnjim razmatranjem problematike performativne konstrukcije identiteta i utjecajem stvaralaštva Brede Beban danas u kontekstu geopolitičkih promjena i kako su se one reflektirale na suvremenu umjetničku scenu i poziciju umjetnika. Pri analizi umjetničkih radova koristile su se metode intertekstualnosti i intermedijalnosti, koje su ukazale na prožimanje i spajanje različitih medija u konstruiranju i realizaciji umjetničkog rada. I find the key reason in studying this artistic oeuvre in the fact that Breda Beban’s overall oeuvre is less known to the Croatian expert public, and that she has mostly been viewed fragmentarily and through the prism of her video works produced after 1991, which she actualised in cooperation with her artistic and life partner Hrvoje Horvatić, and by herself following his passing. However, her artistic work had begun much earlier. With her work, the artist marked the 1980s, and heralded with her earlier works the manner of approach to the artform of performance through topics of temporal transience and the power of memory, as well as through studying the spiritual dimensions of the geopolitical landscape as a mirror of psychological states and dispositions. Breda Beban’s artistic legacy has hitherto not been fully processed and analysed. A larger part of the artist’s processed oeuvre is mostly related to her foreign production, while part of the recorded data on Breda Beban’s artistic activity prior to migration comes in fragments, from the circle of her friends and through a small number of published reviews or publications (there are few papers or critical texts published about the artist). It is important to note that Breda Beban’s artistic formation began in Zagreb (where she spent her formative years and most of her life), and that it defined her artistic direction; therefore, it is important to define her position within the review of the Croatian art scene. This artist constitutes an extremely important part of the women’s art scene, and laid the foundations with her initial works for feminist contextualisation of art of the 1980s, which has not yet been executed, which inter alia also refers to the Croatian trans-avantgarde, i.e., the New Painting, which meant a kind of domination of women artists in the medium of painting, dominated by men. Furthermore, the analysis of the artist’s oeuvre will indicate that Breda Beban opened up with her work a discursive space, within which particular oeuvres based on the performative construction of identity can be viewed; therefore, it is of utmost importance to position and comprehensively consider her work. The analysis and evaluation of Breda Beban’s creation in the context of autobiographic and postcolonial body of performance is the main topic of this research; new interpretation and reading of her work through feminist and postcolonial theory has been provided through monographic approach to the available holdings and legacy. The aforementioned serves as proof that Breda Beban’s creation can be defined as feminist work that indicates the problematics of questioning the construction of identity through performance. With this research, Breda Beban’s overall creation has been considered, analysed and classified for the first time, all of which incorporates it into contemporary research approaches to feminist performing arts. When speaking of Breda Beban’s artistic work, it is necessary to take into consideration two important characteristics. On the one hand, we can speak of exceptional diversity of genres, which enables this artist’s oeuvre to be placed into wider artistic context, while on the other hand, it can question the performative constructions of her identity and belonging, resulting from the inseparability between her private life and status of emigrant and her artistic activity. Life events and circumstances which led to certain changes (the loss of her homeland, the emigration and the change in her living and artistic environment, her partner’s passing) were substantially intertwined with her artistic work; therefore, Breda Beban’s creation cannot be considered without an insight into her private life marked by cultural and geographical heritage, a change of residence (from childhood to maturity) with the purpose of finding a new home and that which is represented by home, the position of continuous migration, the collaboration with her life partner, the loss of her partner, etc. We should also consider certain changes on the political and geopolitical plane, which conditioned her personal decision to go into exile. Therefore, the analysis of the aforementioned requires a multidisciplinary, interdisciplinary and transdisciplinary research approach and the application of new methodological and culturological methods which enable these phaenomena to be observed from a higher perspective. The topic was approached dichotomously: her artistic work and production were analysed at the genre, aesthetic and theoretic level based on analytical procedures inherent in the socalled critical theories, French Poststructuralism, feminist critique of representation; the problem of the inseparability of life circumstances and their influence on artistic expression was studied with a multidisciplinary approach dominated by feminist postcolonial theory, related to contemporary research practices of feminist performing arts. The starting point is based on the theory of the performative as a manner of formation of the subject and its identity, postcolonial theory of the notion of otherness as accepting the reality of the other and the concept of meaning of other, and on the theory of liminal identity of performance; the area of this research will also move towards theoretical interest so as to become aware of the difference in conceiving and applying feminist theory when constructing a different kind of subjectivity and identity that is not defined merely by the cultural heritage of the pertinent identity. Based on these postulates, the work is contextually divided into two wholes: The first part provides an overview of the artist’s life and creation, and an analysis of Breda Beban’s artworks with the method of genre analysis, whereby overall creation is analysed through three temporal units (independent artistic activity: painting and performance, photography, activity through binary position with partner Hrvoje Horvatić, and independent activity following her partner’s passing: video performance, video art, film). In the analysis, emphasis is put on the performative component of her creation: the use of the body as the medium, the appropriation of geography of the lost homeland and cultural heritage in the construction of the works’ poetics, the adoption of personal experience of exile and migration, personal experience of physical loss. Particular attention is given to music art, the influence of theology (Pavel A. Florensky: Ikonostasis) and film art (Sergei Parajanov: The Colour of Pomegranates; Carl Theodor Dreyer: Gertrud, etc.), which formed the aesthetics and poetics of the artworks. The placement in the temporal context is engaged in the questions of methods of development of relationship towards the de/construction of identity, through a prism of postcolonial theory that includes an interdisciplinary link with women’s and cultural studies. Particular characteristics in the analysis stand out as artistic performatives and construction, typical for this artist’s performance. The second part of the research work proceeds from defining Breda Beban’s creation as a feminist artist who problematises in her works the construction of identity through postcolonial theory, while placing the artist herself in a position of artist-emigrant without an appropriate homeland, which ceased to exist due to certain geopolitical events. This brings us to the problem of placing the oeuvre in the context of national non/belonging. With the analysis of the process of revision of personal history via critical discourses that do not omit otherness, with the aim of constructing the identity with the process of otherness, which requires that the language itself be deliberated on from a postcolonial perspective, the uniqueness of Breda Beban’s artistic phaenomenon is explained. Characteristics such as liminality, hybridity and Third Space have indicated that Breda Beban’s artistic legacy remained in the space “in-between,” in the space of nonbelonging to one or the other; therefore, it was important to conduct this research so as to indicate oeuvres that are not wrought into national overviews, structures and belonging to particular entities. Rather, their work as artistic legacy belongs to everyone, in the hope that it will be properly interpreted and incorporated into international overviews. The final part of the work is engaged in examining the problematics of the performative construction of identity and today’s influence of Breda Beban’s creation in the context of geopolitical changes and the manner in which they reflected on contemporary art scene and the artist’s position. This work sought to provide a comprehensive analysis and theoretical interpretation of artist Breda Beban’s work, which I believe succeeded at to a large extent, as well as that it also indicated the contribution and artistic legacy of her partner Hrvoje Horvatić. Breda Beban’s artistic legacy opened up numerous questions on belonging and nonbelonging, and on the manner in which society as a whole hears voices positioned in the hybrid Third Space of expression. Unfortunately, the analysis of the artist’s oeuvre and creation has shown that these voices are still not sufficiently heard and that a change in paradigm is necessary in the context of valorisation of individual oeuvres.

Televizijski zaslon vsakodnevno ponuja širok spekter medsebojno povezanih in soodvisnih vsebin, ki so produkt konvencij, več kot enega žanra. Proces, imenovan hibridnost, s prehajanjem in medsebojnim povezovanjem dveh ali več žanrov nagovarja široko množico gledalcev. Večji del oddaj, katerih osrednji namen je preobrazba, temelji na mešanici prvin resničnostnega in dokumentarnega žanra. Cilj diplomskega dela je na osnovi induktivne žanrske analize oddaj preobrazbene televizije raziskati hibridnost. Ta ob združevanju elementov omenjenih žanrov ustvarja nove oblike upodobitve in pripovedovanja zgodb. Z izbranimi oddajami prenove doma sem primerjala, do kolikšne mere se razbrani stilistični in vsebinski elementi ujemajo s konvencijam resničnostnega ter dokumentarnega žanra. Rezultat dopolnjevanja in mešanja elementov je pokazatelj hibridnosti. Analiza izbranih oddaj obnove domov - Delovne akcije, Holmes Family Rescue in Holmes Family Effect ter DIY SOS: The Big Build, obenem implicira še standardizacijo žanrskih elementov. Ponavljajoči se vzorci rabe in razporeditve elementov ter primerljiv vsebinski potek oddaj dokazujejo formuliranost, ki je temeljna ugotovitev diplomskega dela. Ob analizi sem razpoznala močan vpliv vključujočega izpovednega sloga pripovedovanja zgodb in inherenten učinek dramatizacije. Omenjene lastnosti so prisotne v vseh analiziranih oddajah in pripomorejo k zanimanju in ohranjanju pozornosti gledalcev. Television offers a wide range of interconnected and interdependent content, the product of conventions, of more than one genre. The process called hybridity appeals to a wide range of audiences by crossing and connecting two or more genres. The majority of transformation television shows are a mixture of elements of the reality and documentary genres. In the presented thesis we research hybridity, based on the inductive genre analysis of transformative television shows. The merge and combination of the mentioned genres creates a new representation of storytelling. With the comparison of selected home renovation shows, the thesis presents to what extent perceived stylistic and contextual elements fit the conventions of the reality and documentary genres. The results of complementing and mixing elements are an indication of hybridity. The analysis of selected home renovation shows - Working Action, Holmes Family Rescue and Holmes Family Effect, and DIY SOS: The Big Build, at the same time implies the standardisation of genre elements. The main finding of the thesis is formulation, which is noticeable through recurringpatterns of use and arrangement of elements and the comparable content flow. Through the analysis we identified the strong influence of the inclusive confessional style of storytelling and the inherent effect of dramatization. These features are presented in all of the analyzed shows and help engage andhold the attention of viewers.

Rad „Moje stvari“ nastao je s osloncem na više etapa u procesu realiziranja radova rađenih kroz peti i šesti semestar kolegija slikarstva, pa sadrži različite aspekte prethodnih radova i skica, počevši od prvog rada napravljenog na temu „crno-bijeli svijet“ pa sve do konačnog završnog rada. Sam završni rad sastoji se od četiri geometrijska objekta podstavljena na postamentu tvoreći tako instalaciju nalik pozornici. Objekti su sačinjeni od različitih materijala (valovite ljepljenke, hamer-papira u boji, itd.) koji u konzekventnom korištenju doprinose izgledu cjeline rada. Autor je s početnim radom želio prikazati razlike između ljudi što se na kraju pretvorilo u fokus na likovno rješenje koje predstavlja pogled na samu slikovnu perspektivu. Autor u izradi završnog rada pronalazi inspiraciju u radovima umjetnika Richarda Tuttlea i umjetnice Jessice Stockholder kod kojih pronalazi sličnosti s vlastitim intencijama u pogledu korištenja raznovrsnih gotovih/preuzetih elemenata, te u načinu jedinstvenog inkorporiranja različitih materijala kroz svoje radove. Ostale reference pronalazi i u minimalizmu, što se odnosi kako na preferenciju geometrijskih oblika i nekih drugih likovnih elemenata, tako i na pojmovni aparat/terminologiju s uporištem u pojmu ¨specifični objekt¨ (Donald Judd). The work "My stuff" was created in the multilayered process spanning fifth and sixth semester of the Painting course. It contains different aspects of previous works and sketches, starting with the first work made on the theme of "black and white world" and ending with the final thesis. The work consists of four geometric objects placed on a pedestal, thus creating a stage-like installation. The objects are made of different materials (corrugated adhesive tape, colored hammer paper, etc.) which when used consistantly contribute to the overall appearance of the work. Initially, the author wanted to show the differences between people, which eventually turned into an artistic solution that represents a view of the pictorial perspective itself. In the creation of the final work, the author finds inspiration in the works of artists Richard Tuttle and Jessica Stockholder, in which he finds similarities with his own intentions regarding the use of various ready-made/borrowed elements and in the unique way of incorporating different materials in his work. He also finds other references inminimalism, which refers both to the preference of geometric shapes and some other artistic elements, as well as to the conceptual apparatus/terminology based on the term ¨specific object¨ (Donald Judd).

Migrantska književnost (njem. Migrantenliteratur) jedna je od novijih literarnih struja koja se pojavila na njemačkoj književnoj sceni u 20. stoljeću. Jednu od podskupina te struje čine, između ostalih, djela turskih pisaca koji su od 60-ih do 90-ih godina, zajedno s ostalim radnicima migrantima, pojačanim intenzitetom migrirali u Zapadnu Njemačku. Neki su tursko-njemački autori spisateljsku karijeru započeli u Turskoj te ju nastavili po dolasku u Njemačku, dok drugi svoja prva djela objavljuju tek u novoj sredini. Ovisno o razdoblju, tematici i jeziku stvaralaštva možemo ih podijeliti u prvu i drugu generaciju. Ovaj će rad dati pregled najistaknutijih tursko-njemačkih autora dviju generacija i njihovog opusa, te analizom izabranih djela utvrditi sličnosti i razlike u obradi tematike identiteta i problematike jezika. Migrant literature (German: Migrantenliteratur) is one of the newer literary trends that emerged on the German literary scene in the 20th century. The publications of Turkish writers who migrated to West Germany with increased intensity from the 1960s into the 1990s, together with other migrant workers, represent one subgroup of the migrant literature. Some Turkish-German authors began their writing careers in Turkey and continued writing after arriving in Germany, while others started publishing their books in the new surroundings. Depending on the period, theme and language of their literary work, we can divide them into the first and second generation. This paper will provide an overview of the most prominent Turkish-German authors of the two generations and their oeuvre. Also, through the analysis of their selected works this thesis will identify similarities and differences in the elaboration of identity and language issues.

Pričujoče delo se ukvarja s korejsko kulturo v slovenskem kulturnem kontekstu (kolektivnem in individualnem). Predstavi kompleksnost omenjenih kulturnih procesov in dojemanja pripadnosti določeni kulturi in ter preučuje koncepte primarne in »prevzete« kulture skozi svetovno razširjenega fenomen,a poimenovanega »korejski val« oziroma »Hallyu«. Skozi to nalogo jese »Hallyu« opredeljuje kot transnacionalni pojav, v raziskavi pa sem se osredotočila na zanima pa me prepoznavnost korejskih popularnih kulturnih vsebin in njihovoa poraboa med slovenskimi konzumenti različnih starosti. Te pozicije podrobneje preučujem preko analize pomena »primarne kKorejskosti« (skozi pregled literature in različnih definicij sodobnega dojemanja korejskosti) in »sekundarne korejskosti«, ki je rezultat vpliva korejskega vala oziroma hibridizacije tuje in lokalne kulture. Na vprašanja zakaj in kako se zgodi proces sprejemanja tujih kulturnih vplivov oblikovanjea, oziroma geneza subkulture in kako pripadnost subkulturi vpliva na subjektovo okolico subjekta, uporabim kombinirano kvalitativno in– kvantitativno metodo in ter avtoetnografijo skozi katero postavljam v središče obravnave sebe, kot stranski proizvod in rezultat učineka korejskega vala in mehke moči, kar me pripelje do pozicije agenta korejske kulturne ideologije in kot projektanta »Hallyu«-a v Sloveniji. The present work deals with Korean culture in the Slovenian cultural context (collective and individual). I present the complexity of the mentioned cultural processes and the perception of belonging to a certain culture and study the concepts of primary and "adopted" culture through a world-wide phenomenon called "Korean wave" or "Hallyu". Throughout this thesis, "Hallyu" is defined as a transnational phenomenon, and I am interested in the recognition of Korean popular cultural content and their consumption among Slovenian consumers of different ages. I study these positions in more detail by analysing the meaning of "true Koreanness" (through a review of the literature and various definitions of modern perception of Koreanness) and "non-true Koreanness", which is the result of the Korean wave or hybridization of foreign and local culture. To answer the questions of why and how the process of accepting foreign cultural influences happens formation or genesis of the subculture and how belonging to a subculture affects the subject's environment, I use a combined qualitative-quantitative method and autoetnography. The research for this thesis leads me to the position of an agent of Korean cultural ideology and of »Hallyu« in Slovenia.

Tema je ovog rada hibridnost gramatičkih kategorija u južnoslavenskim jezicima, odnosno glagolske imenice i infinitivi u hrvatskom, makedonskom i slovenskom jeziku. Rad polazi od određenja hibridizacije i hibridnosti kao jezičnih fenomena. Nadalje se iznose postavke konstrukcijske gramatike, u sklopu koje se našla kognitivna gramatika kao dio konstrukcijskih gramatika u širem smislu. Slijedi općeniti opis infinitiva te normativni opis infinitiva u hrvatskim i slovenskim gramatikama. Nakon poglavlja o infinitivu iznose se obilježja glagolskih imenica te njihov opis u normativnim gramatikama triju jezika. Na kraju se obrađuju rezultati psiholingvističkih testova o konkretnosti infinitiva i glagolskih imenica u hrvatskom i slovenskom te konkretnosti glagolskih imenica u makedonskom na uzorcima izvornih govornika s ciljem utvrđivanja razlika u predočivosti dviju hibridnih kategorija u različitim rečeničnim konstrukcijama. The topic of this paper is the hybridity of grammatical categories in South Slavic languages, i.e., verb nouns and infinitives in Croatian, Macedonian and Slovenian. The paper starts from the definition of hybridization and hybridity as linguistic phenomena. Furthermore, the settings of construction grammar are presented, within which cognitive grammar was found as a part of construction grammars in a broader sense. The following is a general description of infinitives and a normative description of infinitives in Croatian and Slovenian grammars. After the chapter on the infinitive, the features of verb nouns and their description in the normative grammars of the three languages are presented. Finally, the results of psycholinguistic tests on the concreteness of infinitives and verb nouns in Croatian and Slovenian and the concreteness of verb nouns in Macedonian on samples of native speakers are processed in order to determine the differences in the imageability of the two hybrid categories in different sentence constructions. Das Thema dieser Arbeit ist die Hybridität grammatikalischer Kategorien in südslawischen Sprachen, d.h. Verbnomen und Infinitive im Kroatischen, Mazedonischen und Slowenischen. Die Arbeit geht von der Definierung von Hybridisierung und Hybridität als sprachlichen Phänomenen aus. Darüber hinaus werden die Grundsätze der Konstruktionsgrammatik dargelegt, in Rahmen welcher die kognitive Grammatik als Teil der Konstruktionsgrammatik im weiteren Sinne ihren Platz gefunden hat. Dem folgt die allgemeine Beschreibung von Infinitiven sowie die normative Beschreibung von Infinitiven in kroatischen und slowenischen Grammatiken. Nach dem Kapitel über den Infinitiv werden die Merkmale von Verbnomen und ihre Beschreibung in den normativen Grammatiken von drei Sprachen vorgestellt. Schließlich werden die Ergebnisse von psycholinguistischen Tests zur Konkretheit von Infinitiven und Verbnomen im Kroatischen und Slowenischen und von Verbnomen im Mazedonischen verarbeitet, welche an Stichproben von Muttersprachlern mit dem Ziel, die Unterschiede in der Abbildbarkeit zweier Hybridkategorien in verschiedenen Satzkonstruktionen zu bestimmen, durchgeführt wurden.

Projekt predstavlja potpunu aktivaciju jezera Sabljaci s nizom sadržaja koji tvore cjelovitu atmosferu. Atraktivna lokacija predstavlja izazov u projektiranju različitih programa na jednom mjestu s dva ekstrema: senzacionalno zatečena priroda te potreba za nizom sadržaja ekonomske isplativosti. Projekt radikalno redefinira odnose između arhitekture i landscapea te se odgovara specifičnom organizacijom prostora. Korisnik doživljava autentično iskustvo i atmosferu kroz cjeloviti krug različitih programa. Cilj je arhitektura s minimalnim otiskom na okoliš jer je svetost tla prvenstvena misao. Ta misao djeluje i kroz temu vode-arhitektura se seli na površinu jezera kako bi se naglasila još više priroda i arhitektura kroz kontrast prirodnog i artificijelnog.

Diplomski rad bavi se pitanjem identiteta Mađara na prostoru zapadne Slavonije i njegovom mijenom od Drugog svjetskog rata do danas. Za potrebe rada intervjuirano je telefonskim putem ukupno šest sugovornika s područja Pakraca, Gaja, Daruvara, Velike Pisanice, Brekinske te su interpretirana i vlastita iskustva sa sudjelovanja u aktivnostima Društva Mađara. Cilj rada je prikazati konstruiranje identiteta Mađara kroz politički diskurs i diskurs o jeziku, promatrajući identitete kao fluide, procesualne i hibridne i s obzirom na utjecaj globalne kulture. Rad problematizira pitanje identiteta od naturalizma do suvremenog poimanja, zakonsku regulativu RH o pravima nacionalnih manjina, daje pregled promjena u sastavu stanovništva (Mađara) na području zapadne Slavonije kroz prizmu političkoga diskursa i jezične politike. Fokus rada stavljen je na kulturne i simboličke prakse Mađara i narative sugovornika koji pričaju priče o tome što znači biti Mađar. Na kraju rad problematizira poimanje identiteta kao nacionalne kategorije i efekte koji proizlaze iz toga. This thesis is dealing with the issue of identity of Hungarians in the area of western Slavonia and its changes from Second World War until today. For the purpose of this paper a telephone interview with six interlocutors from Pakrac, Gaj, Daruvar, Velika Pisanica and Brekinska was conducted, and also my own experience from participation in activities of Hungarian society was interpreted. The aim of this paper is to present the construction of Hungarian identity through political and discourse of language, while observing identities as procedural and hybrid fluids and while having in mind the influence of global culture. This paper discusses the question of identity from naturalism to contemporary understandings, and the legislation of Croatia on the rights of national minorities. Also, it gives an overview of changes in population composition (Hungarians) in the area of western Slavonia through the prism of political discourse and language policy. The focus of the thesis is put on the cultural and symbolic practice of Hungarians and the narratives of the interlocutors who tell stories of what it means to be a Hungarian. Finally, this paper problematizes the notion of identity as national category and the effects that result from it.

Ovim se radom analiziraju i interpretiraju značajke fantazmatskog diskursa u strip-serijalu Sandman engleskog autora Neila Gaimana. Rad obuhvaća teorijski uvod u strip – značenjsko i funkcionalno određenje stripa, te opis stripovne poetike Neila Gaimana. Metodologiju, osim toga, čine teorije o fantastici i njezinu užem pojmu fantazmatici raznih književnih teoretičara s temeljem u postavkama Tzvetana Todorova i Dietera Petzolda, koje se potom primjenjuju na analizu stripovskoga serijala Sandman. Predmetna je analiza provedena na razini izraza i na razini sadržaja. O hibridnoj se strukturi stripa, osim na razini metajezičnih veza s teorijom književnosti koja se primjenjuje u istraživanju, govori i kroz prikaz strukturnih veza stripa i književnosti na primjeru analize stripovnih elemenata u pjesničkom tekstu Ljubomira Stefanovića 007. TERRORIRSTEN, HA.

The paper employs Michel Foucault’s ideas on heterotopias, outlined in his essay Of Other Spaces (1984), to analyse the interaction of humour and spaces in Edward Gorey’s works, with special emphasis on the book The Evil Garden (1966). Foucault’s theory of heterotopias is used to provide an understanding of Gorey’s fusion of sombre places and macabre tales with his characteristically dry humour and to examine what Gorey’s heterotopias can tell us about the problem of the categorisation of Gorey as an author of children’s literature. In the reading of The Evil Garden, the paper illustrates how Gorey’s disturbing heterotopias achieve a hybridity of spaces, genres, tones, and reader roles in order to encourage polyvalent readings. Gorey plays with the juxtaposition of various heterotopias, destabilising the reader’s position through recurring motifs and intertextual allusions, but the one element that is represented in all those “other” places is invariably humour in all its different forms. It is precisely at the intersection of the various spaces which collide in heterotopias that Gorey’s dark humour emerges and performs its subversive function., Oslanjajući se na ideje Michela Foucaulta o heterotopijama, izložene u njegovu eseju „O drugim prostorima“ iz 1967., rad analizira interakciju humora i prostora u djelima Edwarda Goreyja, s posebnim naglaskom na tekst The Evil Garden [Zli vrt] iz 1966. Foucaultova teorija o heterotopijama upotrebljava se kako bi se ponudilo razumijevanje Goreyjeva spoja sumornih mjesta i jezivih priča s njegovim karakterističnim humorom te istražilo što nam Goreyjeve heterotopije mogu reći o problemu kategorizacije Goreyja kao autora dječje književnosti. U čitanju Zloga vrta pokazuje se kako Goreyjeve uznemirujuće heterotopije postižu hibridnost prostora, žanrova, tonaliteta i čitateljskih uloga da bi se potaknula polivalentna čitanja. Gorey se poigrava supostavljanjem raznolikih heterotopija, destabilizirajući čitateljev položaj ponavljanjem motiva i intertekstualnih aluzija, no sastavnica koja je uvijek prisutna u svim tim “drugim” mjestima jest humor. Goreyjev mračni humor izvire upravo na raskršću raznih prostora koji se sudaraju u heterotopijama kako bi ostvario svoju subverzivnu ulogu.

The paper explores the liberating power of Bhabha’s concept of hybridity in Manju Kapur’s novel The Immigrant. By concentrating on Nina’s immigration to Canada, the novel addresses her early affliction due to the cultural clash between the East and West, tradition and modernity, her assimilation problems, as well as her gradual assimilation, her in-betweenness, transformation in her roles and identity, and survival in the host world. She opens a space in-between the home and host culture, mediates between them, and becomes the citizen of two worlds; she thus enters the third space, i.e. she stands in-between two cultures prioritizing neither the home nor the host culture but the middle ground and emerges as a hybrid who occupies the in-between space and develops a double vision. Using Homi Bhabha’s insights, this study seeks to demonstrate that being positioned in the third space, i.e. moving beyond the polarities and challenging the fixedness of identity and experiencing in-betweenness – being neither one nor the other, might pave the way for her liberation. The paper is to show that Nina is neither one nor the other, i.e. neither a traditional nor a modern woman but both, simultaneously transcending and reconciling the tradition and modernity., Rad proučava oslobađajuću moć Bhabhinog koncepta hibridnosti u romanu Imigrantica Manju Kapur. Prateći imigriranje protagonistice Nine u Kanadu, roman prikazuje njezine početne teškoće zbog kulturalnih razlika između Istoka i Zapada, tradicije i suvremenosti, njezine probleme s asimilacijom kao i njezin život između dvije sredine, promjenu njezine društvene uloge i identiteta te preživljavanje u novom svijetu. Nina ulazi u prostor između vlastite i nove kulture, posreduje između njih i živi u oba svijeta; na taj način, ona postaje dijelom trećeg prostora, tj. nalazi se u sredini ne dajući prednost ni jednoj ni drugoj kulturi, hibridom koji nastanjuje prostor između te razvija dvostruku svijest. Cilj je ovog rada primjenom Homi Bhabhinih teorijskih koncepata pokazati da biti dijelom trećeg prostora, tj. nadići suprotnosti, propitati ukalupljenost identiteta i iskusiti život u sredini – ne pripadati ni jednoj ni drugoj kulturi – može funkcionirati kao oblik Ninina oslobođenja. Nina nije ni tradicionalna ni suvremena žena nego oboje jer istovremeno i nadilazi i pomiruje tradiciju i suvremenost.

Osnovna oblast razmatranja u ovoj disertaciji odnosi se na načine na koje televizija prihvata balet i različite pojavnosti umetničke igre, sa jasnom distinkcijom izmeĎu realizacije prenosa baletske predstave i kreativnog procesa formiranja specifičnog formata, televizijskog baleta. U strukturalnom pogledu disertacija je podeljena na tri celine koje sadrže sedam poglavlja. To su teorijski, istorijsko-deskriptivno-analitički deo i komparativni deo, uz uvod, zaključak, literaturu, priloge i biografiju autora. U prvom delu pod nazivom „Umetnička igra i televizija“, prvo poglavlje odnosi se na definisanje pojmova i prikaz savremene teorijske i filozofske misli u oblasti baleta, odnosno umetničke igre. Drugo poglavlje posmatra televizijski diskurs u bogatoj medijskoj praksi savremenog sveta. Iz aspekta studija kulture, teorije medija i teorije televizije, razmatraju se televizijske mogućnosti za procese kreiranja originalnih umetničkih dela, kao i televizijske poruke u čijoj je osnovi kodiranje i dekodiranje. Treće poglavlje fokusira se na umetničko delo i načine njegove transformacije i doživljaje kroz medijsku reprodukciju. Ovde se definišu pojmovi remedijacije, imedijacije i hipermedijacije, karakteristike i meĎusobna interakcija scene i televizije, a u finalu ovog poglavlja pravi se jasna distinkcija izmeĎu baleta na televiziji i televizijskog baleta. Četvrto poglavlje prvog dela odnosi se na predmet istraživanja i metodološke smernice disertacije i obuhvata: predmet, potrebe i ciljeve istraživanja, metode, analitički korpus i hipoteze.Drugi, istorijsko-deskriptivno-analitički deo disertacije pod nazivom „Umetnička igra na televiziji“, u integralnom petom poglavlju, posle istorijskog uvoda o počecima uvoĎenja plesne prakse u televizijski medijski prostor, jasno definiše sve načine nastanka televizijskog baleta i ostale oblike prisutnosti umetničke igre na televiziji.Treći komparativni deo pod nazivom „O interakciji umetničke igre i televizije“ obuhvata šesto poglavlje u čijim se potpoglavljima problemski posmatraju teme: gradivni elementi i sredstva u procesu nastanka baleta na televiziji ili za televiziju; tipični motivi i teme u različitim viĎenjima i transformacijama: Labudovo jezero kao inspiracija; odnos baletske muzike, umetničke igre i medijskog tumačenja kao odnos tekstova i njihova recepcija; scena-televizija-film i kombinovanje medija; zastupljenost umetničke igre u programskoj šemi; model bolje prakse.Sedmo poglavlje odnosi se na analizu prisutnosti umetničke igre u programskoj šemi i predlaže se model bolje prakse.Analitička potpoglavlja sadrže analize primera prisutnosti umetničke igre na televiziji, a odnose se na muzičku osnovu, koreografsku postavku i televizijsku realizaciju uz sistematizaciju televizijskih oblikotvornih principa. Analitički korpus predstavljaju primeri iz dokumentacije Televizije Beograd, ali i dostupni snimci strane produkcije. Ciljevi istraživanja su: identifikacija, sistematizacija i analiza primera iz prakse, poreĎenje prakse sa postojećim teorijskim postulatima, definisanje postupaka transformacije scenskog žanra u televizijski medij. Radom na ovoj temi biće prikazano kako se stariji žanr – scenski balet, izmešta u novi medij, dobija prefiks novog izražajnog prostora i konstituiše specifičan televizijski format., In this dissertation, the main field of consideration is the way the television accepts ballet and the different appearances of dance, with the clear distinction between the realization of broadcasting a ballet play and the creative process of modeling a specific format, the television ballet. Structurally, this dissertation is divided in three sections which contain seven chapters. These are the theoretical, historic-descriptive-analytical part and the comparative part, besides the introduction, conclusion, literature, inserts an biography of author. In the first part “Artistic dance and television”, the first chapter is dedicated to defining the terms and describing the contemporary theoretical and philosophical reflections in the field of ballet and dance. The second chapter analyses television as a dominant discourse in the vast media practice of the contemporary world. From the perspective of culture studies, media theory and television theory, the potential of television is regarded as suitable for creating original artwork, aside from television messages based on coding and decoding. The third chapter focuses on the artwork and the transformations it experiences through media reproduction. It defines the terms of remediation, immediacy and hypermediation, the features and interactions between the scene and television, and, in the final part of this section, a clear distinction is made between ballet on television and the television ballet. The fourth chapter refers to the subject of research and the dissertations methodological guidelines, and contains: the research topic, needs and goals of the research, methods, analytical corpus and hypothesis.The second, historic-descriptive-analytic part of the dissertation “Artistic dance on television”, in the integral fifth chapter, after the introduction about the historical beginnings of introducing the artistic dance in the television media, clearly describes the genesis of television ballet and other forms of dance present on television.The third, comparative section “About interaction between dance and television”, includes sixht chapter where the following subjects are problematically analyzed: the elements and means in the process of transmission ballet on TV and making TV ballet; typical motifs and themes in different perspectives and transformation: Swan lake as an inspiration; artistic dance as the text in media reading; the scene, television and film and the combination of different media.The seventh chapter is about the presence of artistic dance in the program schedule, with proposition of a model for a better practice.The analytical subchapters contain examples for the presence of dance in television, which is referred to as the music fundament, choreographic settings and the television realization, with the systematisation of the form creating television principles. The analytical corpus is combined from examples from the Belgrade Television archives, but also foreign production examples that were available. The goals of this research are: the systematisation and analysis of examples in practice, the comparison of the practice with the existing theoretical postulates, defining the transformation process of the scene genre to the television media. The work presents the transformation of the older genre, the scene ballet, to in a new media, and how it earned a prefix of a new expression space and created a specific television format.

U ovome radu riječ je o hibridnosti književnoumjetničkoga stila na primjeru romana Kutija žigica Vjekoslava Bobana. Najprije se, kontekstualizacijski, navode osnovna obilježja postmodernizma u književnosti i poetike Quorumova naraštaja, s naglaskom na relativno samostalne prozne modele (minimalističku prozu, konceptualnu prozu i prozu urbanoga pejzaža), nakon čega se problematizira pripadnost književnoumjetničkoga stila funkcionalnim stilovima hrvatskoga standardnog jezika, gdje se razmatra treba li se književnoumjetnički stil promatrati kao jedan od funkcija standarda, kao stil „sui generis“, kao „nadstil“ ili kao potkod. Glavni dio rada donosi interpretaciju romana Kutija žigica, gdje se, iz perspektive funkcionalne stilistike, analiziraju dramski, znanstveni, administrativno-poslovni, razgovorni, novinarskopublicistički, reklamni, oratorski i esejistički elementi i njihova značenjska uloga u tekstu.

Kao direktna posledica sociopolitičkih promena u Velikoj Britaniji u periodu nakon Drugog svetskog rata, u kojem se demografska slika britanske nacije nepovratno izmenila, pojam ,,Britanac” promenio je značenje. Jaz između starog i novog značenja ovog pojma produbio se u dvadeset i prvom veku koji su obeležile brojne migracije, te je istraživanje hibridnog identiteta veoma aktuelno. Izmenjena društvena struktura Velike Britanije reflektuje se i u književnosti, te je pravi izazov izučavati načine na koje se u savremenom britanskom romanu predstavlja ono što se danas podrazumeva pod britanskom nacijom kada se piše o njoj. Jedan od važnih aspekata ovog istraživanja jeste sagledavanje mogućih načina na koje možemo tumačiti takva dela, i u okviru ove disertacije biće ispitane granice postojećih diskurzivnih struktura, sledeći teoriju Mišela Fukoa koji smatra da nas svaka tvrdnja da smo došli do istine stavlja u neopravdanu poziciju moći... As a direct consequence of the socio-political changes in Great Britain in the period following the Second World War, during which the demographic map of the British nation underwent permanent modification, the term “Briton” changed its meaning. The chasm between the old and new meanings of this term deepened in the twenty-first century, which was marked by numerous migrations, so research in the field of hybrid identity is very topical. The modified social structure of Great Britan is also reflected in literature, so it has become quite a challenge to study the ways in which authors present what is assumed to be the British nation when they write about it in contemporary British novels. An important aspect of this research is to examine the possible ways in which we can interpret such works, and the margins of exisiting discursive structures will be put to the test in this dissertation, following Michel Foucault’s theory in which he holds that any claim to truth puts us in an unjustified position of power. In this sense, the dissertation examines the margins of what we call postmodern and postcolonial discourse, establishing at the same time possible combinations of relations and their mutual interweaving...

Predmet istraživanja rada je pojam/teorijski koncept„transkulturalnost“ u savremenoj interkulturalnoj (migracionoj) književnosti nemačkog govornog područja i mogućnosti njegove analize na primeru romana Saše Stanišića Kako vojnik popravlja gramofon (2006). Bavljenje teorijskim konceptom„transkulturalnost“ kao i njegovom analizom u tzv.„hibridnoj književnosti“ u koju spada i migraciona književnost nemačkog govornog područja zahtevaju preciziranje nekoliko pojmova – migracija, migranti, hibridna književnost, migraciona književnost, kultura, transkulturalnost, identitet, alteritet, hibridnost. Tekstovi koji se bave različitim susretima, diferancijama i preklapanjima kultura (postojećim odnosima identiteta i alteriteta i mogućnostima kulturne hibridnosti) su predmet istraživanja interkulturalne i postkolonijalne nauke o književnosti, koje će, takođe, biti detaljnije razjašnjene. Cilj razjašnjenja pomenutih pojmova i oblasti izučavanja je da se u Stanišićevom romanu prepoznaju transkulturalni elementi i da se odredi pristup analize tih pojava u literarnom tekstu. U radu se polazi od hipoteze da se u Stanišićevom romanu transkulturalnost favorizuje i da ovakav stav utiče ne samo na sadržinu romana već i na autorov odabir naratoloških kategorija. Postavljena hipoteza biće proverena pomoću komunikacionog modela teksta (odnos između teksteksternog nivoa realne komunikacije i tekstinternog nivoa pripovedanog/ likova i odnos između teksinternog nivoa načina pripovedanja i tekstinternog nivoa pripovedanog/ likova). Za analizu i vrednovanje koncepta transkulturalnosti na osnovu kategorije „likovi“ odabran je model pomoću koga je moguće detaljno analizirati transkulturalnost kako na kvantitativnom tako i na kvalitativnom nivou likova i koji obuhvata selekciju, koncepciju, karakterizaciju, funkciju i konstelaciju likova. Likovi se u ovom radu posmatraju kao nosioci određenih kulturnih vrednosti, a pomenuti model služi za pronalaženje odgovora na sledeća pitanja: Da li u datom fiktivnom svetu preovladavaju predstavnici heterogenih ili homogenih shvatanja kulture, da li transkulturalni likovi spadaju u kompleksne ili tipizirane likove, kakva je karakterizacija transkulturalnih likova, koju funkciju dobijaju transkulturalni likovi i da li su u datom fiktivnom socijalnom prostoru transkulturalni stilovi života uopšte poželjni? Sledeće kategorije, pomoću kojih će biti istražena funkcija transkulturalnosti u Stanišićevom romanu, su pripovedačka instanca, fokalizacija i redosled pripovedanja (tekstinterni nivo načina pripovedanja). U analizi teksta koristiće se pristup kakav ga zagovoraju „postklasične“ teorije o pripovedanju. Postklasična naratologija obuhvata mnoštvo različitih teorija, ali je svima zajedničko da ne prateideal objektivnih neutralnih sudova kao što to čini klasična naratologija, već se bave i kontekstom nastanka teksta, kao i ideološkim primesama u samom tekstu, koje se ogledaju i u odabiru načina pripovedanja. Cilj analize tekstinternog nivoa načina pripovedanja je pronalaženje odgovora na sledeća pitanja: Da li autorov odabir pripovedačke/-ih instance/-i i fokaliziranih likova doprinosi favorizovanju pogleda na svet kakav ga zagovara transkulturalni koncept i da li se u autorovom odabiru redosleda pripovedanja naglašavaju susreti i prožimanja različitih kultura?