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Označavanje vrsta riječi jedan je od temeljnih zadataka u području obrade prirodnog jezika. Ono samo po sebi ne rješava određeni problem u obradi prirodnog jezika, ali je preduvjet za mnoge druge procese kao što su analiza sentimenta, prevođenje teksta ili prepoznavanje govora. Označavanja temeljena na pravilima, transformacijama ili stohastičkim metodama opisana su i uspoređena sa korištenjem neuronskih mreža u svrhu označavanja vrsta riječi. Implementirane su RNN i LSTM arhitekture neuronske mreže čiji modeli mogu provoditi automatsko označavanje vrsta riječi za dani tekst pisan hrvatskim jezikom. Kako bi se utvrdila efikasnost uporabe modela neuronske mreža za ovakav zadatak, modeli su testirani i evaluirani. Cilj je prikazati primjenu neuronskih mreža za razvoj označivača vrsta riječi hrvatskog jezika. Part-of-speech tagging is one of the main tasks of natural language processing. On its own, it does not solve a specific problem of natural language processing but it is a part of preprocessing in sentiment analysis, text translation or speech recognition. In the first part of this thesis the rule-based, transformation based and stochastic methods of part-of-speech tagging are described and compared to neural network methods. As a practical part of the thesis, RNN and LSTM neural network models are implemented for an automatic part-of-speech tagger of the Croatian language. To check the efficiency of using the neural network approach for this task, models are tested and evaluated. The aim of this thesis is to implement neural networks for an automatic part-of-speech tagger of the Croatian language.

In the middle of the 1st century an intensive construction activities have been performed on the north-western boundary of the Roman military camp at Burnum. Amphitheatre along with some additional military structures were erected by the XI Legion CPF (Legio XI CPF) in that period. Natural doline was modified for purposes of the amphitheatre construction, therefore the physical and cultural landscape settings were permanently altered. The task of interdisciplinary research team was to define effect of geomorphological and geological landscape settings to formation of the Burnum agglomeration and to determine physical and cultural landscape changes within past.

This paper deals with the traditional cultural heritage of Poljica and Omiš. Many traditions and customs have been discussed, some of which are extinct, but some of the forementioned are still present today. Geographical features of Poljica and the town of Omiš have been closely examined, as well as their various traditions, some of which have been historically proven, and some used as examples of fantasies which have been used by people so they could explain the unexplainable. The paper also deals with the church heritage, with major Christian holidays, as well as customs that follow. In addition to Christian traditions, the paper also explains some secular traditions, like marital customs, along with customs of the town of Omiš. Different humorous songs that the people of Omiš have sung have also been described, along with puzzles and riddles that they had fun with. Lastly, superstitions that puzzled and frightened the people of Omiš have also been explained. U ovom radu prikazana je tradicijska kulturna baština poljičkog i omiškog kraja. Spomenuti su mnogi običaji od kojih su neki izumrli, a neki žive i dan danas. Tako u ovom radu pobliže upoznajemo neke geografske značajke Poljica i grada Omiša, saznajemo nešto o raznim poljičkim i omiškim predajama od kojih su neke povijesno dokazane, a druge služe samo kao primjer fantazije s kojom su se ljudi služili kako bi objasnili neobjašnjivo. Također, u radu se spominje i crkveno-pučka baština gdje se posebno obrađuju neki veliki kršćanski blagdani, te običaji koji se vežu uz njih. Osim kršćanskih običaja, u radu se spominju i neki svjetovni kao što su ženidbeni običaji i običaji samog grada Omiša. U radu su prikazane i razne šaljive pjesme uz koje su se Omišani i Poljičani veselili, zagonetke i pitalice koje su ih zabavljali te praznovjerja koja su ih plašila i na neki način upozoravala.

The script for the course Sculpture 2 at the Graduate Study of the Department of Sculpture of the Art Academy in Split continues on the script for the course Sculpture 1 from the previous semester. Fifteen teaching units are arranged in sequences consistent with real sculptural practice. The possibility of perception and articulation of new content is one of the most important aspects of the development of the author's work process. The emphasis is on its openness and improvement, as an upgrade of knowledge from the previous semester. Throughout the script, the basic structure of the creative process is determined, but now at a more demanding level. The attention paid to the language of art, as a fundamental and unifying aspect of the work, this semester is further emphasized and presented by a series of selected visual examples, as well as examples of quotations from authors that can be interpreted as the basis of the artist’s statement. The script makes it easier for students to achieve the expected learning outcomes, i.e. awareness of the full process of realization of contemporary author's sculpture, from conceiving an idea to performing the work, and thinking about its layout in exhibition space. Skripta za kolegij Kiparstvo 2 na Diplomskom studiju Odsjeka kiparstvo Umjetničke akademije u Splitu nastavlja se na skriptu za kolegij iz prethodnog semestra, Kiparstvo 1. Petnaest nastavnih jedinica nižu se slijedom sukladnim realnoj kiparskoj praksi, što predstavlja važno iskustvo za studente, osobito u kolegiju Kiparstvo 2 koji nastavno na prethodni kolegij omogućuje studentima daljnje razvijanje znanja i iskustva. Mogućnost percepcije i artikulacije novih sadržaja je jedan od najvažnijih aspekata razvoja procesa autorskog rada. Naglasak je na njegovoj otvorenosti i unaprjeđivanju, kao nadogradnji znanja iz prethodnog semestra. Kroz čitavu skriptu se utvrđuje osnovna struktura stvaralačkog procesa, no sada na zahtjevnijoj razini. Pažnja posvećena likovnom jeziku, kao temeljnom i objedinjujućem aspektu rada, u ovom semestru je dodatno naglašena i prezentirana nizom odabranih vizualnih primjera, kao i primjera citata autora koji se mogu tumačiti kao temelji izjave o radu. Skripta olakšava studentima ostvarivanje očekivanih ishoda učenja, odnosno osvješćivanje potpunog procesa realizacije suvremene autorske skulpture, od osmišljavanja ideje do izvedbe rada i promišljanja njegova postava u prostoru.

Numerous wars and plague epidemics have marked the city of Šibenik through the 17th century, which caused a bad image of the city, which affected the field of art as well as the acquisition of paintings and painting production. The painting heritage of the 17th century was diverse, and most examples of sacral themes belong to imported painting. Bishops, church orders, fraternities and prominent representatives of Dalmatian society played a major role in the orders of paintings. The beginning of the 17th century was also marked by lifting of gilded and wooden altars, many of which are still preserved today. Although several works by local masters have been preserved, the works of late Renaissance painting and the continuation of the tradition of the so-called the golden age of Venetian painting stand out the most. The paintings of Palma Junior as well as the followers of his manner stand out in particular. Of great importance are also the paintings of Matteo Ponzone, a skilfully Venetian Baroque painter, which are kept today in the church of St. Francis. Three paintings stand out in the city, which are based on stylistic characteristics and are connected with the Bassano workshop, which belongs to the Venetian painting circle. A more detailed analysis shows that throughout the 17th century the influence of Venetian templates was dominant. There is not much information about local masters such as Mihovil Parkić and Antun Moneghin, but they are extremely important in the context of understanding the functioning of fraternal associations in smaller Dalmatian towns in the period of post-Tridentine reconstruction. Brojni ratovi i epidemije kuge obilježili su grad Šibenik kroz 17. stoljeće, što je prouzročilo lošu sliku grada koja je utjecala na domenu likovnosti kao i na nabavu slika i slikarsku produkciju. Slikarska baština 17. stoljeća bila je raznovrsna, a najviše primjera sakralne tematike pripada importnom slikarstvu. Veliku ulogu u narudžbama slikarskih djela imali su biskupi, crkveni redovi, bratovštine i ugledni predstavnici dalmatinskog društva. Početak 17. stoljeća obilježen je i podizanjem pozlaćenih i drvenih oltara, od kojih su i danas brojni sačuvani. Iako je sačuvano nekoliko djela lokalnih majstora, najviše se ističu djela kasnorenesansnog slikarstva i nastavak tradicije tzv. zlatnog stoljeća mletačkog slikarstva. Posebno se ističu slike Palme Mlađega kao i sljedbenika njegove maniere. Od velike važnosti su i slike Mattea Ponzonea, vještog venecijanskog baroknog slikara, koje se danas čuvaju u crkvi sv. Frane. U gradu se ističu i tri slike koje se temeljem stilskih karakteristika povezuju s radionicom Bassano koja pripada venecijanskom slikarskom krugu. Detaljnijom analizom vidljivo je da je kroz 17. stoljeće bio dominantan utjecaj mletačkih predložaka. O lokalnim majstorima poput Mihovila Parkića i Antuna Moneghina nema puno podataka, ali izrazito su značajni u kontekstu sagledavanja načina funkcioniranja bratovštinskih udruženja u manjim dalmatinskim gradovima u razdoblju poslijetridentske obnove.

This work presents Cassirer's theory of symbolic forms, the theory of the symbolic system. The system of symbolic forms is a unique system through which Cassirer wants to explain the ways, possibilities and specifics of man's knowledge of the world. Through symbolic forms, a man build a world. Because of their peculiarities, symbols are man's necessary ways of communication with the world because he is "crussified" between stimulus and experiences. A symbolic system or symbolic chain is a progressive system that tries to explain man's entire knowledge. The symbolic forms that Cassirer singles out as essential for human knowledge are myth, religion, language, art, history and science. Each of these forms stands out in its own way, but also each previous symbolic form in some way influences the other. Nevertheless, each of the symbolic forms has its own independence and specific ways of development and movement, as well as that one symbolic form does not abolish the other, but only complements itself in the overall scheme of the symbolic system. Cassirer builds the theory of the symbolic system by a purpose to build a unique philosophical anthropology that provides answers to numerous questions about man. Ovaj rad prikazuje Cassirerovu teoriju simboličkih oblika, odnosno teoriju simboličkog sustava. Sustav simboličkih oblika je jedan jedinstveni sustav preko kojeg Cassirer želi objasniti načine, mogućnosti i specifičnosti čovjekovog spoznavanja svijeta. Preko simboličkih formi čovjek oblikuje svijet. Zbog njegovih osobitosti, simboli su čovjekovi nužni načini komuniciranja sa svijetom jer je „razapet“ između podražaja i doživljaja. Simbolički sustav ili mreža jedan je progresivan sustav koji pokušava objasniti čovjekovu cjelokupnu spoznaju. Simbolički oblici koje Cassirer izdvaja bitnima za ljudsku spoznaju su mit, religija, jezik, umjetnost, povijest i znanost. Svaki od tih oblika ističe se na sebi svojstven način, ali isto tako svaki prethodni simbolički oblik na neki način utječe na drugi. Ipak, svaki od simboličkih oblika ima svoju samostalnost i specifične načine razvitka i kretanja, kao i da jedan simbolički oblik ne ukida drugi, već se samo nadopunjuju u sveukupnoj shemi simboličkog sustava. Teoriju simboličkog sustava Cassirer gradi u svrhu izgradnje jedinstvene filozofijske antropologije koja daje odgovore na brojna pitanja o čovjeku.

Navedeni i interpretirani primjeri u radu zorno svjedoče bogatstvo i raznovrsnost duhovnosti u drniškom kraju. U rad su uvršteni suvremeni zapisi običaja, obreda i pučkih vjerovanja vezanih za dane kroz godinu te blagdane poput Adventa, Boţića, Sveta tri kralja ili Uskrsa. TakoĎer, prikazani su godišnji narodni običaji vezani uz spomendane svetaca koji se slave u Drnišu kao što su sveti Roko ili sveti Ivan. Navedeni primjeri imaju izniman etnološki, antropološki i filološki značaj te svjedoče o nekadašnjem bogatstvu tradicijske baštine u području drniškog kraja. S obzirom na oskudnu znanstvenu literaturu koja se općenito moţe povezati s crkveno-pučkom kulturnom baštinom, uz pomoć kazivača zapisani su izvorni terenski zapisi na drniškom području kojih danas nema ili su prisutni u mnogo manjoj mjeri. Examples that are listed and interpreted in this graduate paper vividly testify about the richness and diversity of Drniš region. In this paper there are contemporary records of customs, rituals and folk beliefs that are related to the memorials of saints that are celebrated in Drniš region, such as Saint Rocco and Saint John. Examples listed have a significant ethnological, anthropological and philological importance and they testify about former richness of traditional heritage of Drniš region. Because of the exceptionally insufficient literature relating to Church-folk cultural heritage, with the help of storytellers, authentic field records are written but still very rare.

This paper deals with the analysis of the prevailing problems at the beginning of contemporary art exhibitions in Croatia, which includes the process of deconstruction of socialist realism in Croatian context art; the first exhibition of EXAT's painters Kristl, Picelj, Rašica and Srnec in the Society of Architects of Croatia in 1957; Salon 54 and its role in the process of reconstruction od modernism; the first didactic exhibition on abstract art held at the Contemporary Art Gallery in Zagreb; the second solo exhibition of Ivo Gattin; then the issues surrounding New Tendencies exhibitions and finally the curatorial projects of Želimir Koščević. The main problems dealt with within these topics are following: problem of the reception of geometric abstraction in the first half of the 50s; reconstruction of modernism; problem of materials in enformel painting; the problem of socialization and deinstitutionalization of art. Ovaj se završni rad bavi analizom problema početaka izložbenih postava suvremene umjetnosti u Hrvatskoj što obuhvaća proces dekonstrukcije socrealizma u domaćoj umjetnosti; prvu izložbu EXAT-ovih slikara Kristla, Picelja, Rašice i Srneca u Društvu arhitekata Hrvatske 1957. godine; Salon 54 i njegovu ulogu u procesu rekonstrukcije modernizma; Prvu didaktičku izložbu o apstraktnoj umjetnosti u Gradskoj galeriji suvremene umjetnosti u Zagrebu; drugu samostalnu izložbu Ive Gattina; zatim problematiku izložbi Novih tendencija i konačno kustoske projekte Želimira Koščevića. Glavni problemi koji se obrađuju unutar ovih tema su problem recepcije geometrijske apstrakcije u prvoj polovini 50-ih godina; rekonstrukcija modernizma; problem materijala u enformelu; problem socijalizacije umjetnosti te deinstitucionalizacija umjetnosti.

This graduate thesis covers the tangible and intangible cultural heritage of the Republic of Croatia. At the beginning of the work, the theoretical part of the very concept of heritage is mostly explained through legislation, and then its division. Thanks to its rich history, Croatia, given its territorial size, has an extremely large number of cultural assets, of which as many as 25 are included in the UNESCO World Heritage List. The second chapter presents the cultural heritage of the city of Split and describes in more detail the most prominent examples of tangible (movable, immovable) and intangible Split heritage. Cultural heritage is a public good of humanity that belongs to every individual and as such must be protected and preserved. The third chapter defines the legal regulations of the Law on the Protection and Preservation of Cultural Heritage. Through the highlighted examples in the fourth chapter, the engagement of professional institutions for the purpose of protecting the cultural heritage of the city of Split is emphasized. The last chapter of the work presents the results of a survey questionnaire aimed at examining the knowledge of the population of the Republic of Croatia about tangible and intangible cultural heritage, and knowledge of the basic concepts of the same. Ovim radom obuhvaćena je materijalna i nematerijalna kulturna baština Republike Hrvatske. Na početku rada ponajviše se objašnjava teorijski dio samog pojma baštine kroz zakonsku regulativu, a zatim njena podjela. Hrvatska zahvaljujući bogatoj povijesti , s obzirom na svoju teritorijalnu veličinu, posjeduje iznimno veliki broj kulturnih dobara, od kojih je čak 25 uvršteno na UNESCO-ov Popis svjetske baštine. Drugo poglavlje rada predstavlja kulturnu baštinu grada Splita te su pobliže opisani najistaknutiji primjeri materijalne (pokretne, nepokretne) i nematerijalne splitske baštine. Kulturna baština javno je dobro čovječanstva koje pripada svakom pojedincu i kao takva se mora zaštiti i očuvati. Trećim poglavljem definirana je pravna regulativa Zakonom o zaštiti i očuvanju kulturne baštine. Kroz istaknute primjere u četvrtom poglavlju, ističe se angažman stručnih ustanova u svrhu zaštite kulturne baštine grada Splita. Posljednje poglavlje rada prikazuje rezultate provedenog anketnog upitnika koji je za cilj imao ispitati upoznatost stanovništva Republike Hrvatske o materijalnoj i nematerijalnoj kulturnoj baštini, te o poznavanju osnovnih pojmova istog.