{"id":2109,"date":"2022-02-22T17:05:46","date_gmt":"2022-02-22T16:05:46","guid":{"rendered":"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/?page_id=2109"},"modified":"2022-02-22T17:13:06","modified_gmt":"2022-02-22T16:13:06","slug":"2021-lxv-3-4","status":"publish","type":"page","link":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/?page_id=2109","title":{"rendered":"2021. (LXV) 3&#8211;4"},"content":{"rendered":"<table style=\"border-collapse: collapse; width: 100%; height: 360px;\" border=\"1\">\n<tbody>\n<tr style=\"height: 72px;\">\n<td style=\"width: 86.64%; height: 72px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-01-Glavan-za-web.pdf\" target=\"_blank\" rel=\"noopener\">Jason and the Greek Epic Hero in Light of Archetypal Criticism<\/a> <br \/>\n(\u010clanak i sa\u017eetak na engleskom)<br \/>\nMaria Mariola Glavan (Sveu\u010dili\u0161te u Zadru)<\/td>\n<td style=\"width: 13.36%; height: 72px;\">133-151.<\/td>\n<\/tr>\n<tr style=\"height: 72px;\">\n<td style=\"width: 86.64%; height: 72px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-02-Borjan-za-web.pdf\" target=\"_blank\" rel=\"noopener\">Trauma and Memory in Post-Yugoslav Cinema<\/a><br \/>\n(\u010clanak i sa\u017eetak na engleskom)<br \/>\nEtami Borjan (Sveu\u010dili\u0161te u Zagrebu)<\/td>\n<td style=\"width: 13.36%; height: 72px;\">153-179.<\/td>\n<\/tr>\n<tr style=\"height: 120px;\">\n<td style=\"width: 86.64%; height: 120px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-03-Kovtun-\u2013-Klimovich-za-wb.pdf\" target=\"_blank\" rel=\"noopener\">\u201cThe Naked Person&#8221; and &#8220;The Unbearable World&#8221;: Variations of Exodus (Based on Early Prose by A. I. Solzhenitsyn)<\/a><br \/>\n(\u010clanak i sa\u017eetak na engleskom)<br \/>\nNatalia Kovtun (Dr\u017eavno pedago\u0161ko sveu\u010dili\u0161te V.P. Astafieva u Krasnojarsku)<br \/>\nNatalya Klimovich (Sibirsko dr\u017eavno sveu\u010dili\u0161te)<\/td>\n<td style=\"width: 13.36%; height: 120px;\">181-205.<\/td>\n<\/tr>\n<tr style=\"height: 24px;\">\n<td style=\"width: 86.64%; height: 24px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-04-Szab\u00f3-za-web.pdf\" target=\"_blank\" rel=\"noopener\">The Transformation of Three Dostoevsky Themes in Lydmila Ulitskaya&#8217;s Oeuvre<\/a><br \/>\n(\u010clanak i sa\u017eetak na engleskom)<br \/>\nT\u00fcnde Szab\u00f3 (Sveu\u010dili\u0161te u Pe\u010duhu)<\/td>\n<td style=\"width: 13.36%; height: 24px;\">207-227.<\/td>\n<\/tr>\n<tr style=\"height: 24px;\">\n<td style=\"width: 86.64%; height: 24px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-05-Petkovic-za-web.pdf\" target=\"_blank\" rel=\"noopener\">The Visionary from Wackyland: Bob Clampett&#8217;s Early Films<\/a><br \/>\n(\u010clanak i sa\u017eetak na engleskom)<br \/>\nRajko Petkovi\u0107 (Sveu\u010dili\u0161te u Zadru)<\/td>\n<td style=\"width: 13.36%; height: 24px;\">229-253.<\/td>\n<\/tr>\n<tr style=\"height: 24px;\">\n<td style=\"width: 86.64%; height: 24px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-06-Roundtable-za-web.pdf\" target=\"_blank\" rel=\"noopener\">Dostoevsky in the Twenty-First Century<\/a><br \/>\nDigitalni okrugli stol u organizaciji <em>Umjetnosti rije\u010di<\/em><\/td>\n<td style=\"width: 13.36%; height: 24px;\">255-276.<\/td>\n<\/tr>\n<tr style=\"height: 24px;\">\n<td style=\"width: 86.64%; height: 24px;\"><a href=\"http:\/\/umjetnostrijeci.ffzg.unizg.hr\/wp-content\/uploads\/2022\/02\/UR-2021-3-4-07-Book-review-za-web.pdf\" target=\"_blank\" rel=\"noopener\">On Milan Kundera &#8212; In a Problematic Manner<\/a><br \/>\nPrikaz knjige: Jan Nov\u00e1k. <em>Kundera:<\/em> <em>\u010cesk\u00fd \u017eivot a doba<\/em>. Praha:Argo &amp; Paseka, 2020.<br \/>\nMatija Iva\u010di\u0107 (Sveu\u010dili\u0161te u Zagrebu)<\/td>\n<td style=\"width: 13.36%; height: 24px;\">277-282.<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n","protected":false},"excerpt":{"rendered":"<p>Jason and the Greek Epic Hero in Light of Archetypal Criticism (\u010clanak i sa\u017eetak na engleskom) Maria Mariola Glavan (Sveu\u010dili\u0161te u Zadru) 133-151. Trauma and Memory in Post-Yugoslav Cinema (\u010clanak i sa\u017eetak na engleskom) Etami Borjan (Sveu\u010dili\u0161te u Zagrebu) 153-179. \u201cThe Naked Person&#8221; and &#8220;The Unbearable World&#8221;: Variations of Exodus (Based on Early Prose by [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"parent":228,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-2109","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/2109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=2109"}],"version-history":[{"count":2,"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/2109\/revisions"}],"predecessor-version":[{"id":2118,"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/2109\/revisions\/2118"}],"up":[{"embeddable":true,"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=\/wp\/v2\/pages\/228"}],"wp:attachment":[{"href":"https:\/\/umjetnostrijeci.ffzg.unizg.hr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=2109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}