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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Gil, Juan;

    This paper comments on the inscription of Los Hitos. The reading ubile is suggested in line 8, and line 10 is compared to the inscription ICERV 360. Se comenta en este artículo la inscripción de Los Hitos, proponiendo leer ubile en verso 8 y comparando para el verso 10 la inscripción ICERV 360. Humanidades

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ RIUCVarrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    RIUCV
    Article . 2019
    License: CC BY NC ND
    Data sources: RIUCV
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ RIUCVarrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      RIUCV
      Article . 2019
      License: CC BY NC ND
      Data sources: RIUCV
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Kolak, Monika;

    U radu se obrađuje kritički osvrt na impresionizam. Uvodni dio razrađuje povijesni kontekst kojim se dobiva uvid u političke i društvene okolnosti u vrijeme formiranja impresionista. Zatim se pojašnjava tehnički aspekt impresionističke estetike. Predstavljaju se istaknuti kritičari te se razrađuju njihovi osvrti. Tekst je podijeljen kronološki, započevši od prve izložbe impresionista. Predstavljanjem prvih reakcija kritičara daje se uvid u duboke razlike nove estetike s akademskim stilom. Nakon predstavljanja prvih reakcija, citirani su podupiratelji impresionista koji su priželjkivali nova strujanja u umjetnosti. Zatim se izlažu kritički osvrti na Pissarrove krajolike i kroz njih invencije impresionističkog stila. Tekst se nastavlja razradom mogućih uzora i inspiracija te se tu prepoznaje originalnost i individualizam impresionista. Moderno doba se navodi kao važan aspekt koji je stvorio potrebu da se producira umjetnost koja korespondira sa sadašnjicom. Zatim se obrađuje impresionistička figura i način na koji su je kritičari doživjeli, tu se ističu Degas i Renoir. Za kraj poglavlja se navodi razlog zasićenja impresionizmom i najavljuje se nova tema razrade – postimpresionistička kritika impresionizma. Razrađuje se posljednja faza impresionizma i način na koji se postimpresionisti nadovezuju na tu estetiku. S obzirom na to da impresionizam tvori ranu i kratku fazu u opusima postimpresionista, koncizno se izlažu njihovi komentari i razlozi za pronalaženje nove estetike. Posljednje poglavlje sadrži feministički osvrt na impresionizam. Sastoji se od povijesnog konteksta u kojem se izlaže kompleksan odnos muškaraca i žena u devetnaestom stoljeću. Nadalje se spominju mogućnosti za integraciju na umjetničku scenu te preferirane teme za žene. Poglavlje završava razradom teze da je impresionizam ženska umjetnost. Cilj je rada dobiti uvid u „kulturološku klimu“ u kojoj su se impresionisti počeli formirati, recepcija njihovog djela kod kritičara i publike te doprinos modernoj umjetnosti. This paper attempts to give a critical understanding of impressionism, its history and techniques. Firstly, it will introduce impressionism through its historical context providing insight of the political and cultural circumstances in the time of its formation. The discussion around impressionism is well documented, from its beginnings in the modern age to its eventual saturation. As well as the technical aspects of the new aesthetics and how they differ from the academic style. Its influence on Post impressionism which led to the development of a post impressionist critique of impressionism. Finally the intricate way it relates to feminism. The aim of this paper is to examine a cultural climate which gave rise to impressionist artists and show how they have been represented by critic. It intends chronologically to show that Impressionism and its inventions have influenced modern art from the very first exhibitions. The initial reaction of critics gives a deep insight into impressionism, after presenting some of their criticisms, supporters of the Impressionists who wished for new currents in art are quoted. Critical reviews of Pissarro 's landscapes and, through them, inventions of the Impressionist style are then presented. The text continues with the elaboration of possible role models and inspirations, and the originality and individualism of the Impressionists are recognized here. The modern age is cited as an important aspect that created the need to produce art that corresponds to the present. Then the impressionist figure is treated and the way the critics experienced it, Degas and Renoir stand out there. The reason for saturation with impressionism is stated and a new topic of elaboration is announced - post-impressionist critique of impressionism. The last phase of Impressionism and the way in which the Post-Impressionists build on this aesthetic are elaborated. Given that Impressionism forms an early and short phase in the rich opuses of the Post-Impressionists, their comments and reasons for finding a new aesthetic are concisely presented. The last chapter contains a feminist review of Impressionism. It consists of a historical context in which the complex relationship of men and women in the nineteenth century is exposed. Opportunities for integration into the art scene and preferred themes for women are further mentioned. The chapter concludes with an elaboration of the thesis that Impressionism is a female art.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Dražen Maršić;

    This paper discusses the notable, but unfortunately lost Naronitan tombstone CIL 3, 8438 with dona militaria and centurion insignia on the front side. It describes the interesting way in which the tombstone was lost, as well as its typological classification, pointing out an iconographic element that has remained unnoticed (a vitis ), and finally proposing a dating for it. At the same time, it touches upon the complex subject matter of the unit in which the deceased served at the time of his death, i.e. the question of whether the Camp . cohort without or with the ordinal number I was a single unit or two units.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archaeologia Adriati...arrow_drop_down
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    Archaeologia Adriatica
    Article . 2017 . Peer-reviewed
    License: CC BY
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Archaeologia Adriatica
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Archaeologia Adriati...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Archaeologia Adriatica
      Article . 2017 . Peer-reviewed
      License: CC BY
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Archaeologia Adriatica
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Christoph Behrens; Beate Kern; María Teresa Laorden; Joris Lehnert;

    Vorwort zur vierten Ausgabe von apropos [Perspektiven auf die Romania]

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ apropos [Perspektive...arrow_drop_down
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    apropos [Perspektiven auf die Romania]
    Article . 2020 . Peer-reviewed
    License: CC BY
    Data sources: Crossref
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    apropos [Perspektiven auf die Romania]
    Article
    License: CC BY
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    DOAJ
    Article . 2020
    Data sources: DOAJ
    DOAJ
    Article . 2020
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ apropos [Perspektive...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      apropos [Perspektiven auf die Romania]
      Article . 2020 . Peer-reviewed
      License: CC BY
      Data sources: Crossref
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      apropos [Perspektiven auf die Romania]
      Article
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      DOAJ
      Article . 2020
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      Article . 2020
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Damir Magaš; Josip Faričić; Robert Lončarić;

    Unije Island (16.88 sq. km, 90 inhabitants in 2001), together with the adjacent islets Samunčiel, Mišnjak and Školjić, makes western part of Cres-Lošinj group of islands and due to its position, it is a bridge between that group of islands and Istria Peninsula. Within the project titled Geographical Bases for the Development of Small Croatian Islands the authors did a field research and the analysis of different spatial data sources in order to analyze basic natural-geographic features, particularly from the point of view of their importance for historical-geographic development of the island and its future socio-economic development. The authors pointed out the basic geographic structures and processes that could contribute to optimal socio-economic revitalization of the island. Otok Unije (16,88 km2, 90 stanovnika 2001.) zajedno s pripadajućim otočićima Samunčiel, Mišnjak i Školjić čini zapadni dio cresko-lošinjske otočne skupine i svojim je geografskim smještajem svojevrstan most između te otočne skupine i istarskog poluotoka. U sklopu projekta Geografske osnove razvoja malih hrvatskih otoka na temelju terenskih istraživanja i analize različitih izvora prostornih podataka obrađena su glavna obilježja njegove prirodno-geografske osnove, osobito s aspekta njihove važnosti kao temelja historijsko-geografskog razvoja otoka, ali i suvremenoga i budućega društveno-gospodarskog razvitka. Istaknute su bitne geografske strukture i procesi u funkciji osmišljavanja optimalnog načina društveno-gospodarske revitalizacije otoka.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Geoadriaarrow_drop_down
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    Geoadria
    Article . 2006
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Geoadria
    Article . 2017 . Peer-reviewed
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    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Geoadria
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    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    DOAJ
    Article . 2006
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Geoadriaarrow_drop_down
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      Geoadria
      Article . 2006
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      Geoadria
      Article . 2017 . Peer-reviewed
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      Geoadria
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      Article . 2006
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    Report on Standard mapping between JATS and XMLTEI

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    Authors: Laurent Hugot; Tangi Villerbu;
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    Revue d histoire du XIXe siècle
    Article . 2016 . Peer-reviewed
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      Revue d histoire du XIXe siècle
      Article . 2016 . Peer-reviewed
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    Description of the organisation of national nodes communities on the basis of best practices.

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    Authors: Marijana Kovačević;

    The article presents substantial and hitherto mostly unpublished archival material concerning two master goldsmiths who were active in Zadar during the late fourteenth and the first half of the fifteenth century. Originally from Kotor, these goldsmiths acquired considerable reputation as well as possessions through the versatility of their work over the course of several decades. The fact that both came from Kotor and shared the same patronymic taken together with the information obtained from archival records, especially those which confirm their contacts point to the possibility that they may have been brothers. This would strengthen the existing hypothesis that goldsmith Pavao Petrov made the processional cross from Božava, dated to the late fourteenth or early fifteenth century, as well as the possibility that Stjepan Petrov was responsible for a similar cross now from Nin. Professor Ivo Petricioli linked cautiously the cross from Nin, signed by a master goldsmith called Stjepan, with Stjepan Crnjina, also known as Francoj, who collaborated with goldsmith Francesco da Milano, and saw it as part of a group of crosses displaying similar iconographic and stylistic features, all of which come from the island parishes across the Zadar archipelago, including the aforementioned cross from Božava. For this reason, it seems opportune to dedicate this article to the memory of professor Petricioli and mark the anniversary of his death by examining the attribution of Gothic processional crosses from the Zadar region as a theme which benefitted enormously from his scholarly contributions.

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    Ars Adriatica
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    Ars Adriatica
    Article . 2014
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    Ars Adriatica
    Article . 2014 . Peer-reviewed
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    Article . 2014
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      Ars Adriatica
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      Ars Adriatica
      Article . 2014
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      Ars Adriatica
      Article . 2014 . Peer-reviewed
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    Authors: Vujević, Dario; Parica, Mate;

    The Vlakno cave is situated in the central part of the island of Dugi Otok between settlements Luka and Savar. The cave was suitable for dwelling of a smaller group throughout the year due to its look, size and orientation. The third campaign of the archaeological research was undertaken at the beginning of 2010 with the aim of determining complete startigraphy of the site so that the excavation was conducted within previously opened Trench B (fig. 1). In the previous campaigns the level of tephra, Neapolitan Yellow Tuff was reached. Analyses indicate that this layer was formed 14 500 years ago. In the new campaign additional 80 cm of deposits under tephra have been excavated, and the bottom of the cave was not reached until the end of the campaign. Under the tephra there are three main layers separated with two thin interlayers of ash and burnt soil which actually represent walking surfaces from the period when the cave was in use. Preliminary analyses of the material from all three layers indicate to the Epigravettian period corresponding with the general development of the Upper Palaeolithic on both sides of the Adriatic. Dates acquired for layers under tephra indicate age from 12. 710 to 12. 120 cal. years BC (14. 660 to 14. 060 cal. years BP). At the beginning of the new excavation decrease of the remains of marine organisms was evident, and the remains of big terrestrial animals refer mostly to big ruminants. There are less flint tools, although they are still represented with a significant number of specimens. There are also bone tools, such as perforated teeth of a deer (Cervus elaphus), perforated shells and snails (Cyclope neritea, Columbella rustica and shells of the genus Glycimeris). Eight perforated deers' teeth were found, six different perforated shells and a bead made of a shell of the genus Entalina (Dentalium tetragonum) (fig. 2). Alongside these finds, we need to mention fragments of ten bone awls and punches. Besides jewelry, meaning of the aesthetics gains even more importance regarding the find of two fragments of chert nodules in the same layer. One of them is decorated with a row of short, parallel and two horizontal incisions on the cortex (fig. 5). This was a segment of a larger depiction, continuing in three directions in relation to the extant segment. Unfortunately other fragments are missing which is why it is impossible to discuss the type of depiction. Nodule is broken, only its segment is preserved. It is triangular in cross-section, 3,6 cm long. Preliminary analyses indicate that it was exposed to heating before it was broken. Another fragment of a nodule was found in the same layer, semicircular in cross-section. Incisions in the cortex are shallow, filling the entire surface as opposed to the previously mentioned fragment. This is a row of slanted parallel short incisions encircling the flake (fig. 6). Meaning of these objects remains unknown until the time of possible discovery of some other fragment. There are no indications of functional characteristics of these incisions which is why it is reasonable to suppose that their purpose was of aesthetic nature to say the least. It is possible that depictions on the stone from Vlakno have far more complex meaning. Archaeologists assume that some of the art of the Upper Palaeolithic was used for information storage. Geometric forms might represent different marks or symbols, messages illegible to a modern man. These are not the only decorated objects from Vlakno. On a bone awl is a row of horizontal, short incisions on the proximal part which were not created as a result of working or using bone (cutmarks) but they undoubtedly represent a decoration of the object. Similar incisions (four short incisions) were found on the distal part of the bone punch. These incisions can only have aesthetic meaning as well as on the previously mentioned example. However they may be a sign of ownership or affiliation to a group, or, since the incisions repeat, they may represent a system of numbers. U članku se obrađuju nakitni predmeti pronađeni na lokalitetu Vlakno na Dugom otoku, pećine koja sadrži slojeve gornjeg paleolitika i mezolitika. Autori analiziraju geostrateški položaj pećine u vrijeme epigravetijena, te opisuju promjene u okolišu uvjetovane znatno nižom razinom mora. Nakit od probušenih zuba jelena, morskih puževa i školjaka, a posebice gomolje s urezanim prikazima, uspoređuju sa sličnim nalazima obiju jadranskih obala. Ističu važnost pećine Vlakno za ukupno poznavanje nakita i umjetnosti gornjeg paleolitika.

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    Archaeologia Adriatica
    Article . 2009 . Peer-reviewed
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      Archaeologia Adriatica
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    Authors: Gil, Juan;

    This paper comments on the inscription of Los Hitos. The reading ubile is suggested in line 8, and line 10 is compared to the inscription ICERV 360. Se comenta en este artículo la inscripción de Los Hitos, proponiendo leer ubile en verso 8 y comparando para el verso 10 la inscripción ICERV 360. Humanidades

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    RIUCV
    Article . 2019
    License: CC BY NC ND
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      RIUCV
      Article . 2019
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    Authors: Kolak, Monika;

    U radu se obrađuje kritički osvrt na impresionizam. Uvodni dio razrađuje povijesni kontekst kojim se dobiva uvid u političke i društvene okolnosti u vrijeme formiranja impresionista. Zatim se pojašnjava tehnički aspekt impresionističke estetike. Predstavljaju se istaknuti kritičari te se razrađuju njihovi osvrti. Tekst je podijeljen kronološki, započevši od prve izložbe impresionista. Predstavljanjem prvih reakcija kritičara daje se uvid u duboke razlike nove estetike s akademskim stilom. Nakon predstavljanja prvih reakcija, citirani su podupiratelji impresionista koji su priželjkivali nova strujanja u umjetnosti. Zatim se izlažu kritički osvrti na Pissarrove krajolike i kroz njih invencije impresionističkog stila. Tekst se nastavlja razradom mogućih uzora i inspiracija te se tu prepoznaje originalnost i individualizam impresionista. Moderno doba se navodi kao važan aspekt koji je stvorio potrebu da se producira umjetnost koja korespondira sa sadašnjicom. Zatim se obrađuje impresionistička figura i način na koji su je kritičari doživjeli, tu se ističu Degas i Renoir. Za kraj poglavlja se navodi razlog zasićenja impresionizmom i najavljuje se nova tema razrade – postimpresionistička kritika impresionizma. Razrađuje se posljednja faza impresionizma i način na koji se postimpresionisti nadovezuju na tu estetiku. S obzirom na to da impresionizam tvori ranu i kratku fazu u opusima postimpresionista, koncizno se izlažu njihovi komentari i razlozi za pronalaženje nove estetike. Posljednje poglavlje sadrži feministički osvrt na impresionizam. Sastoji se od povijesnog konteksta u kojem se izlaže kompleksan odnos muškaraca i žena u devetnaestom stoljeću. Nadalje se spominju mogućnosti za integraciju na umjetničku scenu te preferirane teme za žene. Poglavlje završava razradom teze da je impresionizam ženska umjetnost. Cilj je rada dobiti uvid u „kulturološku klimu“ u kojoj su se impresionisti počeli formirati, recepcija njihovog djela kod kritičara i publike te doprinos modernoj umjetnosti. This paper attempts to give a critical understanding of impressionism, its history and techniques. Firstly, it will introduce impressionism through its historical context providing insight of the political and cultural circumstances in the time of its formation. The discussion around impressionism is well documented, from its beginnings in the modern age to its eventual saturation. As well as the technical aspects of the new aesthetics and how they differ from the academic style. Its influence on Post impressionism which led to the development of a post impressionist critique of impressionism. Finally the intricate way it relates to feminism. The aim of this paper is to examine a cultural climate which gave rise to impressionist artists and show how they have been represented by critic. It intends chronologically to show that Impressionism and its inventions have influenced modern art from the very first exhibitions. The initial reaction of critics gives a deep insight into impressionism, after presenting some of their criticisms, supporters of the Impressionists who wished for new currents in art are quoted. Critical reviews of Pissarro 's landscapes and, through them, inventions of the Impressionist style are then presented. The text continues with the elaboration of possible role models and inspirations, and the originality and individualism of the Impressionists are recognized here. The modern age is cited as an important aspect that created the need to produce art that corresponds to the present. Then the impressionist figure is treated and the way the critics experienced it, Degas and Renoir stand out there. The reason for saturation with impressionism is stated and a new topic of elaboration is announced - post-impressionist critique of impressionism. The last phase of Impressionism and the way in which the Post-Impressionists build on this aesthetic are elaborated. Given that Impressionism forms an early and short phase in the rich opuses of the Post-Impressionists, their comments and reasons for finding a new aesthetic are concisely presented. The last chapter contains a feminist review of Impressionism. It consists of a historical context in which the complex relationship of men and women in the nineteenth century is exposed. Opportunities for integration into the art scene and preferred themes for women are further mentioned. The chapter concludes with an elaboration of the thesis that Impressionism is a female art.

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    Authors: Dražen Maršić;

    This paper discusses the notable, but unfortunately lost Naronitan tombstone CIL 3, 8438 with dona militaria and centurion insignia on the front side. It describes the interesting way in which the tombstone was lost, as well as its typological classification, pointing out an iconographic element that has remained unnoticed (a vitis ), and finally proposing a dating for it. At the same time, it touches upon the complex subject matter of the unit in which the deceased served at the time of his death, i.e. the question of whether the Camp . cohort without or with the ordinal number I was a single unit or two units.

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    Archaeologia Adriatica
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    Authors: Christoph Behrens; Beate Kern; María Teresa Laorden; Joris Lehnert;

    Vorwort zur vierten Ausgabe von apropos [Perspektiven auf die Romania]

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    apropos [Perspektiven auf die Romania]
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    apropos [Perspektiven auf die Romania]
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    Authors: Damir Magaš; Josip Faričić; Robert Lončarić;

    Unije Island (16.88 sq. km, 90 inhabitants in 2001), together with the adjacent islets Samunčiel, Mišnjak and Školjić, makes western part of Cres-Lošinj group of islands and due to its position, it is a bridge between that group of islands and Istria Peninsula. Within the project titled Geographical Bases for the Development of Small Croatian Islands the authors did a field research and the analysis of different spatial data sources in order to analyze basic natural-geographic features, particularly from the point of view of their importance for historical-geographic development of the island and its future socio-economic development. The authors pointed out the basic geographic structures and processes that could contribute to optimal socio-economic revitalization of the island. Otok Unije (16,88 km2, 90 stanovnika 2001.) zajedno s pripadajućim otočićima Samunčiel, Mišnjak i Školjić čini zapadni dio cresko-lošinjske otočne skupine i svojim je geografskim smještajem svojevrstan most između te otočne skupine i istarskog poluotoka. U sklopu projekta Geografske osnove razvoja malih hrvatskih otoka na temelju terenskih istraživanja i analize različitih izvora prostornih podataka obrađena su glavna obilježja njegove prirodno-geografske osnove, osobito s aspekta njihove važnosti kao temelja historijsko-geografskog razvoja otoka, ali i suvremenoga i budućega društveno-gospodarskog razvitka. Istaknute su bitne geografske strukture i procesi u funkciji osmišljavanja optimalnog načina društveno-gospodarske revitalizacije otoka.

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    Report on Standard mapping between JATS and XMLTEI

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    Authors: Laurent Hugot; Tangi Villerbu;
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    Revue d histoire du XIXe siècle
    Article . 2016 . Peer-reviewed
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      Revue d histoire du XIXe siècle
      Article . 2016 . Peer-reviewed
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    Description of the organisation of national nodes communities on the basis of best practices.

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    Authors: Marijana Kovačević;

    The article presents substantial and hitherto mostly unpublished archival material concerning two master goldsmiths who were active in Zadar during the late fourteenth and the first half of the fifteenth century. Originally from Kotor, these goldsmiths acquired considerable reputation as well as possessions through the versatility of their work over the course of several decades. The fact that both came from Kotor and shared the same patronymic taken together with the information obtained from archival records, especially those which confirm their contacts point to the possibility that they may have been brothers. This would strengthen the existing hypothesis that goldsmith Pavao Petrov made the processional cross from Božava, dated to the late fourteenth or early fifteenth century, as well as the possibility that Stjepan Petrov was responsible for a similar cross now from Nin. Professor Ivo Petricioli linked cautiously the cross from Nin, signed by a master goldsmith called Stjepan, with Stjepan Crnjina, also known as Francoj, who collaborated with goldsmith Francesco da Milano, and saw it as part of a group of crosses displaying similar iconographic and stylistic features, all of which come from the island parishes across the Zadar archipelago, including the aforementioned cross from Božava. For this reason, it seems opportune to dedicate this article to the memory of professor Petricioli and mark the anniversary of his death by examining the attribution of Gothic processional crosses from the Zadar region as a theme which benefitted enormously from his scholarly contributions.

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    Ars Adriatica
    Article
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    Ars Adriatica
    Article . 2014
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    Ars Adriatica
    Article . 2014 . Peer-reviewed
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    Article . 2014
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      Ars Adriatica
      Article . 2014
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      Ars Adriatica
      Article . 2014 . Peer-reviewed
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    Authors: Vujević, Dario; Parica, Mate;

    The Vlakno cave is situated in the central part of the island of Dugi Otok between settlements Luka and Savar. The cave was suitable for dwelling of a smaller group throughout the year due to its look, size and orientation. The third campaign of the archaeological research was undertaken at the beginning of 2010 with the aim of determining complete startigraphy of the site so that the excavation was conducted within previously opened Trench B (fig. 1). In the previous campaigns the level of tephra, Neapolitan Yellow Tuff was reached. Analyses indicate that this layer was formed 14 500 years ago. In the new campaign additional 80 cm of deposits under tephra have been excavated, and the bottom of the cave was not reached until the end of the campaign. Under the tephra there are three main layers separated with two thin interlayers of ash and burnt soil which actually represent walking surfaces from the period when the cave was in use. Preliminary analyses of the material from all three layers indicate to the Epigravettian period corresponding with the general development of the Upper Palaeolithic on both sides of the Adriatic. Dates acquired for layers under tephra indicate age from 12. 710 to 12. 120 cal. years BC (14. 660 to 14. 060 cal. years BP). At the beginning of the new excavation decrease of the remains of marine organisms was evident, and the remains of big terrestrial animals refer mostly to big ruminants. There are less flint tools, although they are still represented with a significant number of specimens. There are also bone tools, such as perforated teeth of a deer (Cervus elaphus), perforated shells and snails (Cyclope neritea, Columbella rustica and shells of the genus Glycimeris). Eight perforated deers' teeth were found, six different perforated shells and a bead made of a shell of the genus Entalina (Dentalium tetragonum) (fig. 2). Alongside these finds, we need to mention fragments of ten bone awls and punches. Besides jewelry, meaning of the aesthetics gains even more importance regarding the find of two fragments of chert nodules in the same layer. One of them is decorated with a row of short, parallel and two horizontal incisions on the cortex (fig. 5). This was a segment of a larger depiction, continuing in three directions in relation to the extant segment. Unfortunately other fragments are missing which is why it is impossible to discuss the type of depiction. Nodule is broken, only its segment is preserved. It is triangular in cross-section, 3,6 cm long. Preliminary analyses indicate that it was exposed to heating before it was broken. Another fragment of a nodule was found in the same layer, semicircular in cross-section. Incisions in the cortex are shallow, filling the entire surface as opposed to the previously mentioned fragment. This is a row of slanted parallel short incisions encircling the flake (fig. 6). Meaning of these objects remains unknown until the time of possible discovery of some other fragment. There are no indications of functional characteristics of these incisions which is why it is reasonable to suppose that their purpose was of aesthetic nature to say the least. It is possible that depictions on the stone from Vlakno have far more complex meaning. Archaeologists assume that some of the art of the Upper Palaeolithic was used for information storage. Geometric forms might represent different marks or symbols, messages illegible to a modern man. These are not the only decorated objects from Vlakno. On a bone awl is a row of horizontal, short incisions on the proximal part which were not created as a result of working or using bone (cutmarks) but they undoubtedly represent a decoration of the object. Similar incisions (four short incisions) were found on the distal part of the bone punch. These incisions can only have aesthetic meaning as well as on the previously mentioned example. However they may be a sign of ownership or affiliation to a group, or, since the incisions repeat, they may represent a system of numbers. U članku se obrađuju nakitni predmeti pronađeni na lokalitetu Vlakno na Dugom otoku, pećine koja sadrži slojeve gornjeg paleolitika i mezolitika. Autori analiziraju geostrateški položaj pećine u vrijeme epigravetijena, te opisuju promjene u okolišu uvjetovane znatno nižom razinom mora. Nakit od probušenih zuba jelena, morskih puževa i školjaka, a posebice gomolje s urezanim prikazima, uspoređuju sa sličnim nalazima obiju jadranskih obala. Ističu važnost pećine Vlakno za ukupno poznavanje nakita i umjetnosti gornjeg paleolitika.

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    Archaeologia Adriatica
    Article . 2009 . Peer-reviewed
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      Archaeologia Adriatica
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