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The first two maps are related to the wider the second half of the 19th and the first half of the 20th century are based area of the market town Valpovo itself. The older one, signed by on modern cadastral surveys and subsequent revisions. They look like Franciscus Kremniczky, is from and it shows the estate allodium, modern cadastral plans, but they were usually made in smaller scales. However, it is unusual that no forestry of Valpovo by Karl Baky from This indicates that they were separated before the fonds in the area, including the location Staro Valpovo with the cemetery, then reached the archives, and that their final location is unknown.
It is followed by a series mentioned earlier, they were local surveyors, estate or county officials. Further research of the archival fonds from the estate or public administration at the Croatian State Archives and the State Archives in Osijek would probably provide information on the first and last names of all, or at least most, of the surveyors who were active in this area during the mentioned period.
This unit is not gatheredthe content of which more closely matches a general geographical map within the holdings of a single heritage institution though, instead,in a larger scale. Therefore, thethe 19th century is the plan of the Bistrinci property by Laurenz Nadoba originals of the mentioned maps are mostly kept in the State Archivesfrom There are several plans of the same type from the same year, so wider public because it was displayed before in exhibits, and publishedthey are obviously supplements to the new land registers and tax records.
Nevertheless, it is a smaller number of, mostly,Another two water engineering maps should also be mentioned. The more representative maps. The other microhistory, etc.
The map is from primarily, but also for the history of cartography itself. That is why weand it was probably made by Johann Danhelovsky. Hrvatski povijesni muzej, Heraldika, sfragistika, genealogija, veksilologija: Pomorski i povijesni muzej Hrvatskog primorja, Grbovi plemstva Like, Gacke i Krbave, Zagreb: Prilog bibliografiji radova o heraldici s posebnim osvrtom na Hrvatsku i Bosnu i Hercegovinu. Arhivski vjesnik 51Zagreb, str.
Alfa ; Hrvatski institut za povijest, Povijesne zastave u Muzeju Slavonije do Povijesni prilozi 31Zagreb, str. Zwischen Verlust, Verteidigung und Neuerwerb gesellschaftlicher Elitenpositionen — De Gruyter Oldenbourg, Iako im u opisu nije navedena namjena, evidentno pripadaju godine izveo i grb Kraljevine Srbije.
Nastajali su Prandau te za jednu pokojnicu iz obitelji Normann-Ehrenfels. Na mnogim portretima izvedeni su, odnosno naknadno serija od tri posmrtna grba kat br.
Augusta Krahla Dresden, Iznad toga polja zlatna kruna. Ostaje stari grb, Znatnijih zahvata na materijalu nije bilo jer je oslik u relativno dobrom stanju. Zahvaljujem na informacijama g. Iznutra je podstavljena modificirane detalje oslika u odnosu prema prvom autoru.
Iznad krune je tzv. No vitezovi su prikazani grbovima. Karl Ludwig barun Hilleprand von Prandau Osijek, Zlatnom je bojom danas ima odnosno bliskom vremenu izrade ovih serija posmrtnih grbova. Baro retku koji donosi vlastelinovo ime i prezime. Njegovi su posmrtni ostaci preneseni u kriptu kapele sv. Roka u Valpovu Grbovni zastor plave boje podstavljen je bijelim hermelinom,drugog supruga, Antuna baruna Radivojevicha desno.
U druga dva kvadrata prikaz je pelikana na crvenoj Juli Tekstualni je dio izveden u dva reda. Uz gornji rub postera preklapaju se na sredini.
Nad krunom je tzv. Tekst je istovjetan onome na prethodnoIspod grbova ispisana je godina njezine smrti u crnoj boji: Autor ove serije bio je znatnoserija od tri posmrtna grba kat. Prilog poznavanju odnosa skulpture, arhitekture i perivojne arhitekture na primjerima slavonskih dvoraca. Ars Decorativa 6Budapest, str.
Der letzte Akt — Feierlich zu Grabe getragen, U stiliziranju likovnoga prikaza jasno povijesnog izvora. Posmrtni su grbovi bili ne samonastanjen u Valpovu. At the end of the 20th and the beginning of the 21st century, modern researchers, especially archivists, The archival materials of the Valpovo land owners has a special place as museum scientists, and historians, also continued with the development part of the entire material kept at the State Archives in Osijek hereinafter of this area of study.
This is eloquently explained in the quote from the text the Croatian speaking regions, which is relevant for this area, in his study by prof. Like a real gem, the material from the Valpovo estate the Prandau when the strict principles of its composition and use were abandoned. This is also the period when many new noble families appeared in the family and the counts Normann Ehrenfels in the amount of books, Habsburg Monarchy or Austro-Hungary, so we can talk about a type of commercialisation of coats of arms, and those created after the First archival boxes with files, and 40 maps, and the material from the World War completely abandoned the principles of classical heraldry.
In the context of a modern approach to this topic, we can conclude that this Vukovar estate counts Pfeffershofen, Odvyer, Kuffstein, and Eltz in the heraldic material refers to the so-called memorial or modern aspect of use for the coats of arms, but this does not reduce its value as a relevant amount of books, archival boxes with files, and maps have part of our, and with it European, cultural heritage, especially in the segment of history of noble families. These preserved materials, covering the period from the The type of coats of arms that combines the visual representation of the coat of arms or at least the shield with a text related to a deceased person beginning of the 18th century untilprovide the best documentary is known in German speaking areas as Totenwappen.
In this paper, we will use a literal translation and call them funerary coats of arms. They are information about the organisation, administration, life, and activities of the different than ordinary coats of arms by the fact that they connect a text with the visual content coat of armsi. Heraldry is an auxiliary science of history that studies the origin of coats of arms, the rules for their composition, and the history of their development.
Knowledge of heraldry, as well as sigillography, vexillology, and genealogy, is necessary when investigating the heritage of noble families. Arhivski vjesnik 51p. Povijesni prilozi 31p. They were created successively, over a period of 90 years,as a poster with a coat of arms.
FOLIA LINGUISTICA ET LITTERARIA: ČASOPIS ZA NAUKU O JEZIKU I
When describing this archival materials in i. Even though the creation of coats of arms always followed certaindescribing coats of arms, i. Collecting Considering that the representation of funerary coats of arms is primarilyheraldic and similar material is standard practice, not only for archives, visual, reputable artists were often commissioned to create them, sobut also for museum institutions. For example, coats of arms and similar when we talk about this material, we can talk about the complementaryobjects were being collected ever since the National Museum in Zagreb relationship between art and heraldry, i.
Katalog P-N Pages 51 - - Text Version | FlipHTML5
At that Within the context of visual art heritage of the Valpovo estate, it isinstitution, the heraldry and sigillography collection was formed in the important to emphasize that full attention was devoted to the heraldrybeginning of the s, and the collection catalogue is a relevant source found in the collection from the Valpovo castle. There are many portraitsof information on the objects of that type in our heritage institutions.
Travel writing was becoming travel literature and was therefore taken with a new seriousness. Youngs 71 After World War I a number of British artists felt the need to escape from the moralistic and repressive atmosphere which dominated English life. As a consequence of this widespread mobility, in the first half of the XXth century, especially after World War II, travel literature became a privileged genre for its flexibility and its capacity to convey a variety of experiences, expressing an increasingly fragmented reality: Korte Indeed, in the second half of the XXth century, the connection between travelling and writing becomes deeper and more intimate than in the past.
In postmodern travellers such as Bruce Chatwin, the narration of the journey itself is not the point: The exploration of these personal drives and inner needs is what glues together a form of art largely made up of fragments and heterogeneous materials such as notes, thoughts, references to other works, etc: Korte Lawrence s extended travel writing falls into this trend of personal exploration and often becomes the arena for the expression of his social criticism, political ideals, and inner needs and feelings.
Indeed, as is well known, Lawrence abandoned England and travelled constantly, living in other countries most of his life, taking part in that migratory movement of artists following the Great War; indeed, not only was he one of them, but he was defined the vanguard of the British Literary Diaspora, the great flight of writers from England in the 20 s and 30 s Fussell Travel writing is of paramount importance in Lawrence s production as an expression of his experience and of his poetics of movement: Schorer 17 Lawrence was fascinated by travel literature and read many works in the genre in the years of his intellectual and cultural formation.
These readings led him to open his mind to other worlds and to experience the contact with different cultures in the hope of finding an ideal world: By making him aware of the many alternatives to English conformity and domesticity, the writings of the earlier travellers aroused in him the hope that he could find an Eden if only he looked hard enough.
Tracy 6 Travelling for Lawrence implies a search for an inspiring place for his own writing. As David Ellis points out a chief motive for moving seems to have been that new places provided him with stimulus for his writing In his production, travelling takes on the meaning of a search for new, significant ways of life, for an answer to the feeling of fragmentation that he experienced in western society. If, on the one hand, through travelling he tries to find more authentic cultures which appear to be closer to his own structures of feeling, on the other hand his confrontation with those alien cultures makes him reflect upon his own culture and his own identity, calling into question well-established perspectives, and producing a movement within the depth of his own self.
Travelling thus becomes for Lawrence a journey towards the achievement of selfknowledge and the awareness of his own identity, a process that he reflects in a number of his fictional characters. As Paul Fussell says, Lawrence s people discover their identities through their responses to place The meaning of Lawrence s travels and travel writings as an important expression of his drive towards a confrontation with different cultures and the consequent reassessment of his own Weltanschaung, is particularly significant nowadays, in our contemporary multiethnic world as a result of influxes of people from Asia, Africa, South America, Eastern Europe.
Indeed, the continuous and widespread migration movements of groups of people across continents has determined an extensive cultural confrontation often rather conflictual which inevitably creates a sense of displacement, if not of exile, in those people who leave their homelands in search of better conditions of life in other countries.
More specifically, academic debate and research has lately centred on the concepts of otherness and space. Nowadays, in many research fields, there is a 25 Folia Linguistica et Litteraria 25 sort of spatial turn, a definition used by Nigel Thrift and Mike Crang in a study entitled Thinking Space, 1 a tendency which started in the mid-eighties with the publication of a number of studies in the humanities which even in their titles insisted on the idea of mapping Homi Bhabha wrote The Location of Culture injust to mention one famous title.
The borderland or the Frontier is at the same time a place of conflict and of encounter, a space where the cultural confrontation leads to the mapping of the cultural geography of encounters. Indeed, since the s Lawrence has been studied with increasing interest as a writer whose works present issues connected to problems of race, ethnicity, nationality, and the idea of space.
Lawrence lived all his life on borderlines, as he physically and metaphorically crossed many borders, establishing contacts with different cultures and reflecting his experience in his writing. In fact, the element of travel is central in Lawrence s production as an expression of his own personal and inner experience, not only in those prose works that we usually refer to as proper travel books, but also in much of his narrative production.
In the periods and he lived in Italy; 4 in he took his world grand tour across continents: India, Australia, United States, Mexico; his last years were spent in Italy again and his very last journey took him to France where he died.
The physical crossing of borders, his need to travel and confront himself with different realities, lies at the core of Lawrence s life and artistic production. Feminism and the Cultural Geographies of Encounters, Princeton: Princeton University Press, Lawrence wrote three travel books about his experience in Italy and one travel book describing the impact of Mexico upon him: Twilight in Italypublished inSea and SardiniaMornings in Mexicopublished inSketches of Etruscan Placespublished posthumously in The difficulty of coming to terms with otherness becomes a recurrent element throughout his narrative production, right from the first novels written after leaving England The Lost Girl and Aaron s Rod in which cultural contrast represents an essential ingredient of the narration.
This aspect becomes increasingly evident in the novels and short stories written during the American period: Similarly, in The Woman Who Rode Away, the protagonist is a Californian woman whose feeling of displacement and the consequent need to cross the border of her own life, even putting her own existence at risk, arise from the contrast between her own culture and the Mexican environment in which she lives.
To Lawrence, travelling was in some respects a method of inner exploration which intensified his sense of cultural identity: Travel had certainly made him feel how English he was in many of his attitudes Ellis In his poetics of movement, places become an inexhaustible source of inspiration particularly for his special ability to capture the spirit of the place: He saw deeply beneath the surface, which may change from year to year, into that which does not change, what he called spirit of place.
England is often portrayed with images of death, and even described as an ash-grey coffin. When Alvina, the protagonist of The Lost Girl leaves England, she turns her gaze on the land she is abandoning: For there behind, behind all the sunshine, was England, England, beyond the water, rising with ash-grey, corpse-grey cliffs [ ] England, like a long, ash-grey coffin slowly submerging.
She watched it, fascinated and terrified. It seems to repudiate the sunrise, to remain unilluminated, long and ash-grey and dead. It is significant that, after taking his characters with him all over the world, in the end, with his last novel, Lady Chatterley s Loverhe sends them back to England, a place of strong conflicts but where he can indicate a way towards re-birth and where a recovery of the most essential values of life is still possible.
Lawrence s travel books proper can be seen as a sort of personal diary in which he chooses to speak of himself, of the feelings and impressions that he gets from places rather than describe landscapes or monuments. Significant in this respect is a passage from Sea and Sardinia: Sights are an irritating bore.
Thank heaven there isn t a bit of Perugino or anything Pisan in the place: Happy is the town that has nothing to show. What a lot of stunts and affectations it saves! Life is then life, not museum-stuffing. Right from his first travel book Twilight in Italy the contact with otherness and his capacity to penetrate the spirit of place are the most striking aspects: Lawrence left England for the first time in May he began to record his reactions to the foreign.
Eggert xxiii Lawrence appears strongly aware of his own otherness, aware of how he was felt as other by the Italian people he was encountering. In the chapter The Spinner and the Monks he describes the black figure of an old Italian woman, trying to imagine her feelings towards him: To her I was a piece of the environment [ ] In her universe I was a stranger, a foreign signore [ ] She knew that I was an inhabitant of lands which she had never seen [ ] I could not understand because of her dialect.
It never occurred to her that I could not understand. She only thought me different. In another chapter of Twilight in Italy, Il Duro, he shows a clear awareness of cultural difference and his deep respect for otherness, never trying to judge nor to establish his own superiority: He looked at me steadily, finally.
And I could see it was impossible for us to understand each other, or for me to understand him. I could not understand the strange white gleam of his eyes, where it came from [ ] But there was nothing between us except our complete difference. It was like night and day flowing together.
All the while his beauty, so perfect and so defined, fascinated me, a strange static perfection about him. But his movements, whilst they fascinated, also repelled This attraction-repulsion mechanism in Lawrence s relation with alterity appears in most of the Twilight in Italy essays; in the penultimate essay, Italians in Exile, Lawrence admits his own perturbation: I did not want to see the Italians.
Something had got tied up in me, and I could not bear to see them again. I liked them so much; but, for some reason or other, my mind stopped like clockwork if I wanted to think of them and of what their lives would be, their future [ ] Even 29 Folia Linguistica et Litteraria 29 now I cannot really consider them in thought. I shrink involuntarily away. I do not know why this is.
In his second Italian sojourn, he settles down in Sicily but travels quite extensively through Italy. A trip to Sardinia, though very short, inspires the writing of his second Italian travel book, Sea and Sardinia, as a consequence of the strong impression that the Italian island made on him.
At the very opening of this book, Lawrence expresses his restlessness, his drive towards movement as an essential need and a way to feel free and liberate his own inner self: Comes over one an absolute necessity to move. And what is more, to move in some particular direction.
A double necessity then: Later in the book, he describes his feelings when the ship sails away from Palermo towards Sardinia: To tell the truth there is something in the long, slow lift of the ship, and her long, slow slide forwards which makes my heart beat with joy. It is the motion of freedom [ ] I wished in my soul the voyage might last forever, that the sea had no end, that one might float in this wavering, tremulous, yet long and surging pulsation while ever time lasted: Not only does it represent a remote and primitive land, untouched by the negative aspects of industrial society; it is also different from the rest of Italy, which makes him feel more free than anywhere he had been up to then: This is very different from Italian landscape [ ] Sardinia is another thing.
Much wider, much more ordinary, not up-and-down not at all, but running away into distance [ ] This gives a sense of space, which is so lacking in Italy. Lovely space about one, and travelling distances nothing finished, nothing final. It is like liberty itself, after the peaky confinement of Sicily. Room give me room give me room for my spirit.
In the short essay Indians and an Englishman September he writes: The point is, what is the feeling that passes from an Indian to me, when we meet? We are both men, but how do we feel together? And Rosalino, the Indian mozo, looks up at me with his eyes veiled by their own blackness. He knows it can t be done. Each of us knows the other knows. The Indian way of consciousness is different from and fatal to our way of consciousness. Our way of consciousness is different from and fatal to the Indian.
The two ways, the two streams are never to be united. They are not even to be reconciled. There is no bridge, no canal of connection. The sooner we realise, and accept, this, the better, and leave off trying, with fulsome sentimentalism, to render the Indian in our own terms.
Even more so if one considers that Lawrence lived in a time in which the idea of Empire and colonial power was still an important issue in the affirmation of a supposed superiority of the European civilisation. Lawrence shows a positive attitude to and above all deep respect for different cultures and otherness.
This is particularly evident in the writings of the American period, a period which appears often ideologically controversial mainly for the so-called leadership novelsbut which also expresses an indisputable attitude of racial tolerance which certainly does not belong to the Fascist ideology; a clear, touching example, occurs in the short essay Indians and an Englishman, written just after his arrival at Taos: As for me, standing outside, beyond the open entrance, I was no enemy of theirs; far from it.
The voice out of the far-off time was not for my ears. Its language was unknown to me.Cuidado con el angel - Oprezno s anđelom (uvodna špica HRT)
And I did not wish to know I stand on the far edge of their firelight, and am neither denied nor accepted. My way is my own, old red father; I can t cluster at the drum any more. However, his contact with alien civilisations strengthened his sense of belonging to his own culture and therefore, after his long quest, at the end of his life he goes back to Europe.
Although in conflict with western culture, Lawrence was a product of that very same western world, and his intellectual formation was the result of all the major European cultural influences.
Enriched by the knowledge of different cultures, he could try and complete his quest-journey by going back to the places which were closer to his own cultural roots. Italy and its past could offer the answer to Lawrence s quest: By the time he wrote Sketches of Etruscan Places, he was seriously ill, and therefore aware of the possibility and reality of death; this new dimension makes his last travel book extremely significant as a reflection of the author s personal journey towards the discovery of the most arcane mystery of human existence and consequently towards the discovery of a principle of salvation.
By travelling backwards in time, he attempted to answer questions similar to those Gaugin, another exile, posed on his most ambitious Tahitian canvas: The Symbolism of Travel in D. U of Arizona P, Eggert, Paul. Cambridge UP, Ellis, David. Cambridge UP, Fasick, Laura. Lawrence and Literary Genres.
Lawrence and Literary Genres. British Literary Travelling between the Wars. The Cambridge Companion to Travel Writing. Cambridge UP, Korte, Barbara. Indians and an Englishman. The Posthumous Papers of D. Mornings in Mexico and Etruscan Places. Twilight in Italy and Other Essays. Lawrence and the Experience of Italy.
U of Pennsylvania P, Said, Edward. Vintage, Stanford, Friedman Susan. Feminism and the Cultural Geographies of Encounters. Lawrence and the Literature of Travel. Umi Research P, D. In this paper I discuss D. Lawrence s work Mornings in Mexico within an approach theoretically derived from ethical criticism.
To read creatively, in an attempt to respond fully and responsibly to the alterity and singularity of the text is to work against the mind s tendency to assimilate the other to the same, attending to that which can be barely heard, registering what is unique about the shaping of language, thought, and feeling in this particular work. It involves a suspension of habits, a willingness to rethink old positions in order to apprehend the work s inaugural power.
Attridge 80 Derek Attridge s definition of what he considers to be a creative reading of a text encapsulates the main features of an attitude which can be said to be operative at other levels and in other contexts, beyond the context of literary reading. Attridge s own starting point was the encounter between the self and another human being, as conceived of by thinkers from Hegel to Levinas and Derrida.