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The Role of the Railway in Regional Development in Austro-Hungary and in Hungarian-Croatian Relations Today, Especially with Regard to the Availability of Rijeka (Fiume)

100%
Bali L.
Central European Papers
|
2014
|
vol. 2
|
issue 1
160-166
EN
In the Austro-Hungarian Monarchy the role of the railway was decisive in regional development as well as in the areas of the Hungarian Kingdom, the Pannonian Croatian areas and concerning the accessibility of the Adriatic Sea. During the 19th and 20th centuries the iron horse gave the chance for the quick development of the port of Fiume. At present in terms of Croatian-Hungarian relations on the micro regional level the role of the railway is evanescent concerning regional development. Only the Koprivnica-Zagreb-Rijeka railway line transacts Hungarian heavy traffic. The aim of my study is to present and compare the characteristics of the two eras from the point of view of transport and regional policy.
2
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Rijeka i oko nje kod Matoša

87%
Sorel S.
Poznańskie Studia Slawistyczne
|
2014
|
issue 7
EN
The article discusses the relationship between A.G. Matoš and the city of Rijeka, which can be seen in his work „Oko Rijeke”. The focus of the analysis is in the ideology by which the discourse subject observes the city. From the viewpoint of patriotic ideology, the subject comments on the colonialist relations that occur at the time in Rijeka, but his idealization of patriotic culture, as opposed to „negative” historic, landscape and political status of the city, impede his ability to give an accurate insight. Therefore, his work is inclined to be more political than literary.
3
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O talijanskom futurizmu u Rijeci 1919. godine

76%
Lukežić I.
Poznańskie Studia Slawistyczne
|
2020
|
issue 18
225-233
EN
The article discusses the short-lived emergence of Italian futurism in Rijeka, just after the end of World War I, in the context of the political adventure of Gabrielle DʼAnnunzio, who, with the help of his supporters, an ardite, tried to annex the city to the Kingdom of Italy. At that moment, the avant-garde spirit of Italian futurism could manifest itself here in all its main features: activism, antagonism, nizilism and agonism. In addition to the founder of Italian futurism, Filippo Tommas Marinetti, Mario Carli, Guido Keller and Giovanni Comisso stayed and worked in Rijeka during 1919. The article seeks to describe their actions on the basis of newspaper reports in the Rijeka daily La Vedetta dʼItalia.
4
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Gabriele D’Annunzio i dva suvremena umjetnička projekta

75%
Badurina N.
Poznańskie Studia Slawistyczne
|
2019
|
issue 16
33-48
EN
The centennnial of D’Annunzio’s occupation of Rijeka (September 1919 – January 1921) confronts the professions dealing with it – historiography, memory studies, public history, cultural management – with the problem of very different, often conflicting and mutually exclusive interpretations. The process of defining national borders after World War I, territorial claims and the unrealised plans of a new social order are parts of this historical episode still preoccupying interpreters. Here we will try to explain how D’Annunzio’s rule in Rijeka came to be interpreted in view of its similarity to the western hippie movement of 1968, and we will describe two recent artistic products of that interpretation: projects by Janez Janša (Il porto dell’amore) and Damir Stojnić (1:1). Both are interactive urban interventions in the city of Rijeka, and the latter is directly linked to the Rijeka – European Capital of Culture 2020 project.
HR
The centennnial of D’Annunzio’s occupation of Rijeka (September 1919 –January 1921) confronts the professions dealing with it – historiography, memory studies, public history, cultural management – with the problem of very different, often conflicting and mutually exclusive interpretations. The process of defining national borders after World War I, territorial claims and the unrealised plans of  a new social order are parts of this historical episode still preoccupying interpreters. Here we will try to explain how D’Annunzio’s rule in Rijeka came to be interpreted in view of its similarity to the western hippie movement of 1968, and we will describe two recent artistic products of that interpretation: projects by Janez Janša (Il porto dell’amore) and Damir Stojnić (1:1). Both are interactive urban interventions in the city of Rijeka, and the latter is directly linked to the ijeka – European Capital of Culture 2020 project.
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