Potaknuto nasilničkim ponašanjima određenih nogometnih navijača u Bruxellesu na stadionu Heysel 29. svibnja 1985. godine, Vijeće Europe donijelo je Europsku konvenciju o nasilju i nedoličnom ...ponašanju gledatelja na športskim priredbama, posebice na nogometnim utakmicama (CETS br. 120), tzv. Konvenciju br. 120, koja je stupila na snagu 1. studenoga 1985. godine. Konvencija br. 120 zadržala je svoja izvorna obilježja sve do 2013. godine kada je Odbor ministara Vijeća Europe zaključio da je zastarjela i da nije usklađena s iskustvima stečenima od prvotnog stupanja na snagu iste Konvencije. Sukladno tome, Stalni odbor odlučio je izraditi novi tekst Konvencije i kao rezultat toga nastala je Konvencija Vijeća Europe o integriranom pristupu sigurnosti, zaštiti i uslugama na nogometnim utakmicama i drugim športskim priredbama (CETS br. 218), tzv. Konvencija br. 218. Sigurnosne mjere, mjere zaštite i mjere u području usluga, kao ključni dio Konvencije br. 218, imaju za cilj stvoriti sigurno i zaštićeno okruženje na svim športskim priredbama. Integrirani pristup sigurnosti zahtijeva koordinaciju na međunarodnoj, nacionalnoj i lokalnoj razini te je naglašena važnost učinkovite suradnje s policijom, hitnim službama, kao i ostalim partnerima, ne samo u pogledu jamčenja tjelesne sigurnosti, već i u sprečavanju diskriminirajućeg i rasističkog ponašanja. Utvrđena je i važnost osnivanja nacionalne nogometne informacijske točke kao ključnog posrednika u razmjeni informacija i podataka o nogometnim utakmicama s međunarodnim predznakom kao i za međunarodnu suradnju državnih tijela bitnih za sigurnost na nogometnim utakmicama. Razlozi nastajanja Konvencije br. 218 nisu samo u sprečavanju nasilničkog ponašanja na športskim priredbama i poboljšanje sigurnosti i zaštite, već i daljnji razvitak te bolja koordinacija međunarodne suradnje u pogledu kaznenog progona počinitelja takvih delikata.
Encouraged by the violent behavior of certain football fans in Brussels at Heysel Stadium on 29 May 1985, the Council of Europe European Convention on Spectator Violence and Misbehaviour at Sports Events and in particular at Football Matches i.e. Convention no. 120 (CETS no. 120) which entered into force on 1 November 1985. Convention no. 120 retained its original features until 2013 when the Council of Ministers concluded that it was outdated and that it was not in line with the experience gained since the entry into force. Consequently, the Standing Committee decided to draft a new text of the Convention and it resulted with Convention no. 218 (CETS no. 218) i.e. Council of Europe's Convention on an Integrated Safety, Security, and Service Approach at Football Matches and Other Sports Events. Safety measures, security measures and measures in the area of services, as a key part of Convention No. 218, aim to create a safe and secure environment at all sports events. An integrated approach to safety and security requires coordination at the international, national and local levels, and emphasizes the importance of effective co-operation with the police, emergency services and other partners not only in terms of guaranteeing physical security but also in preventing discriminatory and racist behavior. The importance of establishing a national football information point has also been established as a key mediator in the exchange of information on football matches with an international character as well as for the international cooperation of state bodies essential for the safety and security at football matches. Reasons for the emergence of Convention no. 218 is not only in the prevention of violent behavior at sporting events and in improving safety and security, but also in further development and better coordination of international cooperation in the prosecution of perpetrators of such inappropriate acts.
Pomen filmskih adaptacij v svetu je vedno večji. Morda v Sloveniji adaptacije še niso tako priljubljene, vendar tudi pri nas njihovo število ni tako zanemarljivo. Od leta 1931 do leta 2010 je bilo ...posnetih 220 filmov, med katerimi je adaptacije doživelo 69 filmov. V tem delu se bomo osredinili na zgodbo Ivana Tavčarja Cvetje v jeseni ter primerjavo med knjigo, filmom in muzikalom. Sprva bomo predstavili teorijo o adaptacijah, nato pa primerjali te tri različne medije med seboj.
The meaning of film adaptations is getting more and more attention globally. Nevertheless in Slovenia film adaptations have not reached the same level than abroad although the number of film adaptations is not so insignificant. From 1931 till 2010 exactly 220 films were shot in Slovenia and 69 of 220 films have been adapted. Comparison between novel, musical and film will be described based on work of Ivan Tavčar Cvetje v Jeseni. Film adaptation in theory and comparison between different types of medium.
Organizator svake, pa tako i sportske priredbe, za štetu koju gledatelji pretrpe zbog izvanrednih okolnosti, kao što su nekontrolirano i iznenadno kretanje mase, opći nered, lažna uzbuna, tučnjava ...među navijačima, eksplozija i dim prilikom korištenja navijačkih rekvizita, prevelik broja gledatelja i sl., koje se na takvim priredbama mogu dogoditi, odgovara po pravilima iz čl. 1081. ZOO-a. Ove okolnosti možda jesu izvanredne, no nikako nisu nepredvidive, neizbježne i neuklonjive pa ne ulaze u područje više sile. Ako zbog tih okolnosti gledatelju sportskog natjecanja nastane šteta, organizator će za nju odgovarati samo zato što je organiziranjem priredbe stvorio rizik da neki događaj, koji možda sam po sebi ne predstavlja štetnu radnju, dovede do značajne štete. Različita su tumačenja ove vrste odgovornosti, no neovisno o tome, jasno je da ona postoji kako bi olakšala položaj oštećenika u slučaju kada on trpi štetu koja je nastala u takvim okolnostima zbog kojih će mu biti teško, ponekada i nemoguće, dokazati od koga ili čega šteta potječe. U radu će biti govora o mogućim uzrocima štete koja može nastati gledatelju na sportskom natjecanju, o pravnoj prirodi organizatorove odgovornosti, njezinim pretpostavkama i razlozima isključenja odgovornosti. Rad također donosi iscrpan pregled starije i novije sudske prakse koja se odnosi, kako na odgovornost upravo organizatora sportskih natjecanja, tako i na odgovornosti organizatora ostalih vrsta priredbi.
According to Art. 1081 of Law of Obligations, organizer of every event, including a sporting event, is liable for the damages that might occur to viewers due to extraordinary circumstances, which may happen on such events (such as uncontrolled and sudden movement of people, disorderly behavior, false alarm, scuffle among fans, explosion and smoke when using fan props, too many viewers, etc.). These circumstances may be extraordinary, but they are, by no means, unpredictable, inevitable or unrepairable, so they are not considered to be vis maior. If, due to these circumstances, spectator of a sporting event suffers damages, the organizer will be liable for it, because, by organizing such an event, he/she created a risk that an occurrence, which may not in itself constitute a harmful action, causes significant damage. There are different interpretations of this kind of liability, but regardless of those views, it is clear that it exists to alleviate the position of the injured party, if he/she suffers damages caused by extraordinary circumstances because of which it would be difficult, sometimes even impossible, to prove who or what actually caused the damage. This paper will discuss possible causes of damages to the spectator in sporting events, legal nature of this type of liability, its prerequisites and reasons for exclusion of organizer’s liability. This paper will also provide a comprehensive overview of older and recent court decisions that relate to the liability of the organizers of sporting events, but also to the liability of organizers of other types of events.
Organizator svake, pa tako i sportske priredbe, za štetu koju gledatelji pretrpe zbog izvanrednih okolnosti, kao što su nekontrolirano i iznenadno kretanje mase, opći nered, lažna uzbuna, tučnjava ...među navijačima, eksplozija i dim prilikom korištenja navijačkih rekvizita, prevelik broja gledatelja i sl., koje se na takvim priredbama mogu dogoditi, odgovara po pravilima iz čl. 1081. ZOO-a. Ove okolnosti možda jesu izvanredne, no nikako nisu nepredvidive, neizbježne i neuklonjive pa ne ulaze u područje više sile. Ako zbog tih okolnosti gledatelju sportskog natjecanja nastane šteta, organizator će za nju odgovarati samo zato što je organiziranjem priredbe stvorio rizik da neki događaj, koji možda sam po sebi ne predstavlja štetnu radnju, dovede do značajne štete. Različita su tumačenja ove vrste odgovornosti, no neovisno o tome, jasno je da ona postoji kako bi olakšala položaj oštećenika u slučaju kada on trpi štetu koja je nastala u takvim okolnostima zbog kojih će mu biti teško, ponekada i nemoguće, dokazati od koga ili čega šteta potječe. U radu će biti govora o mogućim uzrocima štete koja može nastati gledatelju na sportskom natjecanju, o pravnoj prirodi organizatorove odgovornosti, njezinim pretpostavkama i razlozima isključenja odgovornosti. Rad također donosi iscrpan pregled starije i novije sudske prakse koja se odnosi, kako na odgovornost upravo organizatora sportskih natjecanja, tako i na odgovornosti organizatora ostalih vrsta priredbi.
According to Art. 1081 of Law of Obligations, organizer of every event, including a sporting event, is liable for the damages that might occur to viewers due to extraordinary circumstances, which may happen on such events (such as uncontrolled and sudden movement of people, disorderly behavior, false alarm, scuffle among fans, explosion and smoke when using fan props, too many viewers, etc.). These circumstances may be extraordinary, but they are, by no means, unpredictable, inevitable or unrepairable, so they are not considered to be vis maior. If, due to these circumstances, spectator of a sporting event suffers damages, the organizer will be liable for it, because, by organizing such an event, he/she created a risk that an occurrence, which may not in itself constitute a harmful action, causes significant damage. There are different interpretations of this kind of liability, but regardless of those views, it is clear that it exists to alleviate the position of the injured party, if he/she suffers damages caused by extraordinary circumstances because of which it would be difficult, sometimes even impossible, to prove who or what actually caused the damage. This paper will discuss possible causes of damages to the spectator in sporting events, legal nature of this type of liability, its prerequisites and reasons for exclusion of organizer’s liability. This paper will also provide a comprehensive overview of older and recent court decisions that relate to the liability of the organizers of sporting events, but also to the liability of organizers of other types of events.
U članku se prikazuju urbanistički razvitak i izgradnja Prokurativa, današnjeg Trga Republike u Splitu. Kroz XIX. stoljeće do naših vremena taj monumenalno oblikovan prostor u oblicima ...neorenesanse služio je u raznim društvenim prilikama kao mjesto važnih političkih i umjetničkih događanja u javnom životu grada. Sklop se nalazi u užem središtu grada pa je postao važno mjesto susreta i okupljanja građana.
Tistega lepega dne je zgodba o burkaških prebivalcih primorske vasi sredi italijanske okupacije. Kosmačeva novela in Štigličeva filmska adaptacija odpirata vprašanja o prenosu iste zgodbe v drug ...medij. A primerjave med literarno in filmsko zgodbo ne delamo zaradi enostavnosti, marveč iščemo razlike med obema medijema ter ju skušamo razumeti v kontekstu časa nastanka.
The film 'Tistega lepega dne' is a story about buffoonish inhabitants of a village in Primorska region set in the time of Italian occupation. Novella written by Kosmač and film adaptation made by Štiglič raise questions on the transfer of the same story through a different type of medium. We are not making the comparison between literary and film story because of its simplicity, however we are looking for the differences between both mediums and at the same time we are trying to understand them in the context of the time of the origin.
Diplomsko delo obravnava tri filmske adaptacije literarnega dela Leva Nikolajeviča Tolstoja, Ana Karenina: ameriški film režiserja Clarenca Browna iz leta 1935, ruski film režiserja Aleksandra ...Zarhiga iz leta 1967 ter britanski film režiserja Joea Wrighta iz leta 2012. Delo skuša predstaviti kulturne okoliščine v času nastanka, pokazati pristop k ustvarjanju filmov in išče izstopajoče elemente v filmih, opazuje pa tudi navezavo na literarno delo. Predstavi dileme, ki se pojavljajo ob raziskovanju adaptacij, ter odnos med literaturo in filmom.
The thesis analyses three film adaptations of Count Leo Tolstoy%s novel Anna Karenina: Clarence Brown%s American film from the year 1935, the Russian film made by Aleksandr Zarkhi in the year 1967, and Joe Wright%s British adaptation from the year 2012). The thesis tries to present the cultural conditions in which these films have been made and the accession towards their making. It also seeks elements in films that stand out, and observes their connections with the literary original. It presents dilemmas which can be found while researching film adaptations, and the relation between literature and film.
Čeprav v strokovni javnosti prevladuje mnenje, da prirejevalci literarnih klasikov umetnostno besedilo siromašijo, saj sta jezik in literatura neločljiva in obstajata v zapletenem razmerju, članek ...pokaže, da je naš skupni kulturni spomin v precejšnji meri sestavljen iz raznovrstnih predelav svetovnih klasikov. Slovencem so jih namreč od srede 19. stoletja kulturni posredniki praviloma prvič predstavljali prav v obliki skrajšanih priredb. Prilagajali so jih bralnim zmožnostim vse širše bralske publike in otroškemu dojemanju, v prevodih pa so izvirna besedila spreminjali tudi iz moralističnih ali ideoloških nagibov. Zaradi specifičnih kulturnozgodovinskih razlogov so bili podobni posegi v besedila domačih avtorjev redkejši.
It is commonly argued that adaptation impoverishes literary classics through a process of simplification, which updates them for specific reading public. The reason is that language and literature are inseparable and there is a rather complex relationship between the two. Yet the paper points out that since mid-19th century, the world classics have more often than not been retold for the first time in the shortened form. The simplified versions have not been made only to address Slovenian less-skilled readers or to approach juvenile reading abilities, but have been subjected to censorship for moral, religious, or ideological reasons. Because of a specific cultural context, Slovenian literary classics have been rarely shortened or adapted.
